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MANIC MOSH METAL #03
There is no turning back, Mosh till the last!
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Italian Alternative Model REFEN DOE wearing Manic Mosh tee. Photo by La Minu / Minu In Wonderland.
More of the awesome photographic work by La Minu @ https://www.facebook.com/MinuInWonderland
More on Model Refen Doe @ https://www.facebook.com/pages/Refen-doe/328609193948098
More of the awesome photographic work by La Minu @ https://www.facebook.com/MinuInWonderland
More on Model Refen Doe @ https://www.facebook.com/pages/Refen-doe/328609193948098
BURNING – CD / LP 2016 “Nightmares”
label: private
songs: Razors And Reasons / Trials Of 1613 / Nightmares / No Remorse / Stuck / Anthem For The Lost Souls: I And On The Sixth Day Created Man, II New Vision, III Domination / Bonus track: Something Is Lurking In The Dark //
web: https://www.facebook.com/burningmetalband/?fref=ts
Full-length debut by Holland's Burning, perfectly replicating the early 80's NWOBHM sound. One band in particular Burning connects with is Witchfinder General, incorporating similar – witch and inquisition – themed lyrics, and shades of Doom which are most evident on the slightly Sabbath-esque “Trials Of 1613”. In addition, there's particles of Avenger, mainly due to the level tone vocal style of frontman Hugo Koch, clicking with singer Brian Ross (Avenger, Lone Wolf, Satan). In essence, the “Nightmares” album is one catchy, old-school Metal affair with instant accessibility, and some (for the genre) remarkably heavy, almost Thrash like guitars, as spotlighted on “Razors And Reasons”. Material is mostly of a moderately / mid-tempo nature with two faster, up-tempo cuts; “Stuck”, and bonus track “Something Is Lurking In The Dark” (lifted from the previously released 7” single), and the atmosphere peaking on the in-depth, triple themed 80's U.K Metaler “Anthem For The Lost Souls”. Overall concept is rather straight forward which, partnered with a good, allround balance of songs and a high entertainment value make this one of such no frills Metal albums that can be played over and over again!
Paul van der Burght
label: private
songs: Razors And Reasons / Trials Of 1613 / Nightmares / No Remorse / Stuck / Anthem For The Lost Souls: I And On The Sixth Day Created Man, II New Vision, III Domination / Bonus track: Something Is Lurking In The Dark //
web: https://www.facebook.com/burningmetalband/?fref=ts
Full-length debut by Holland's Burning, perfectly replicating the early 80's NWOBHM sound. One band in particular Burning connects with is Witchfinder General, incorporating similar – witch and inquisition – themed lyrics, and shades of Doom which are most evident on the slightly Sabbath-esque “Trials Of 1613”. In addition, there's particles of Avenger, mainly due to the level tone vocal style of frontman Hugo Koch, clicking with singer Brian Ross (Avenger, Lone Wolf, Satan). In essence, the “Nightmares” album is one catchy, old-school Metal affair with instant accessibility, and some (for the genre) remarkably heavy, almost Thrash like guitars, as spotlighted on “Razors And Reasons”. Material is mostly of a moderately / mid-tempo nature with two faster, up-tempo cuts; “Stuck”, and bonus track “Something Is Lurking In The Dark” (lifted from the previously released 7” single), and the atmosphere peaking on the in-depth, triple themed 80's U.K Metaler “Anthem For The Lost Souls”. Overall concept is rather straight forward which, partnered with a good, allround balance of songs and a high entertainment value make this one of such no frills Metal albums that can be played over and over again!
Paul van der Burght
DESTROYER 666 – CD 2016 “Wildfire”
web: http://www.destroyer666.uk/
label: Season Of Mist records
Newest release by Destroyer 666 and what a masterpiece this is. Firmly rooted in the very early 80's Black / Death / Thrash Metal tradition, Destroyer 666 dressed their music with an ominous atmosphere; a thing that wasn't really around back then and first sort of got introduced by U.S outfit Tyrant. Destroyer 666 hints at that in their own way, phasing old-school BlackMetal modes a la Bathory and Sodom with haunting guitar melodies and higlighted (PowerMetal) yells, alongside the regular gasp gruntage, as evidenced on “Traitor”. There's times, the band also address to the Venom / Warfare approach of the genre(s), as shown on the groove-laden, more-straight forward “Live And Burn” with this Destruction style guitar-lead running underneath. More of this approach down the fast-paced and riff paced titletrack. The band's creativity and originality is furthermore showcased on their blackened interpretation of Motorhead's “White Line Fever”. “The Wildfire” LP makes one of the best picks in its territories; a top 10 album all the way! Highly recommended!
Paul van der Burght
web: http://www.destroyer666.uk/
label: Season Of Mist records
Newest release by Destroyer 666 and what a masterpiece this is. Firmly rooted in the very early 80's Black / Death / Thrash Metal tradition, Destroyer 666 dressed their music with an ominous atmosphere; a thing that wasn't really around back then and first sort of got introduced by U.S outfit Tyrant. Destroyer 666 hints at that in their own way, phasing old-school BlackMetal modes a la Bathory and Sodom with haunting guitar melodies and higlighted (PowerMetal) yells, alongside the regular gasp gruntage, as evidenced on “Traitor”. There's times, the band also address to the Venom / Warfare approach of the genre(s), as shown on the groove-laden, more-straight forward “Live And Burn” with this Destruction style guitar-lead running underneath. More of this approach down the fast-paced and riff paced titletrack. The band's creativity and originality is furthermore showcased on their blackened interpretation of Motorhead's “White Line Fever”. “The Wildfire” LP makes one of the best picks in its territories; a top 10 album all the way! Highly recommended!
Paul van der Burght
LEOPARD MACHINE- CD 2016 “Ride Of The Enforcer”
web: https://www.facebook.com/weareleopard/?fref=ts
Traditional, 80's styled Euro / German Metal / SpeedMetal with upper-mid range falsetto vocals and unsteady high pitched yells. Catchy stuff, yell along refrains and lots of propelling rhythm riffage. Think a mix of Gravedigger, Living Death and Judas Priest. The production is trebly and thin, complimenting the low-budget feel and appearance of this thing, exactly how it was done back in the day. Material is largely riff oriented and fast paced, with slower, Metal minded moments in the shape of the Exciter cover “Die In The Night”, and Hard And Wild”. This is uncompromising, unpretentious and unpolished SpeedMetal, not all too perfect but that is a thing that just adds this 80's charm to it. Comes complete with all-out retro Metal cover image.
Paul van der Burght
web: https://www.facebook.com/weareleopard/?fref=ts
Traditional, 80's styled Euro / German Metal / SpeedMetal with upper-mid range falsetto vocals and unsteady high pitched yells. Catchy stuff, yell along refrains and lots of propelling rhythm riffage. Think a mix of Gravedigger, Living Death and Judas Priest. The production is trebly and thin, complimenting the low-budget feel and appearance of this thing, exactly how it was done back in the day. Material is largely riff oriented and fast paced, with slower, Metal minded moments in the shape of the Exciter cover “Die In The Night”, and Hard And Wild”. This is uncompromising, unpretentious and unpolished SpeedMetal, not all too perfect but that is a thing that just adds this 80's charm to it. Comes complete with all-out retro Metal cover image.
Paul van der Burght
SUBSTRATUM – DEMO TAPE 2016
label: Swords and Chains records
web: https://www.facebook.com/substratumseattle/
First appearance by this Seattle based, female fronted act that employ some traditional HardRock / Metal European style. This is evidenced straight away with opening tune “Last Voyage”; a mid-paced and riff-based, early 80's HardRocker with an European / German root and shades of Savage Master; a thing that mainly comes off in the vocal department with singer Amy Lee Carlson delivering a fairly talk-type, (roughed up) voice. “Who Am I” goes even further back in time sound / concept wise sporting an all-out, classic HardRock riff. Programming on this one is more in-depth with a nice break, acceleration and some cool guitarwork. Demo concludes with “By Any Means”' THE heaviest track of the set, calling at mid-80's Euro Metal with some heavy rifage and the vocals alternating rough modes and slightly melodic lines. In all, a very enjoyable, no frills HardRock /Metal affair exactly the way it was done some 35 years ago!
specs: limited to 100 hand numbered copies
Paul van der Burght
label: Swords and Chains records
web: https://www.facebook.com/substratumseattle/
First appearance by this Seattle based, female fronted act that employ some traditional HardRock / Metal European style. This is evidenced straight away with opening tune “Last Voyage”; a mid-paced and riff-based, early 80's HardRocker with an European / German root and shades of Savage Master; a thing that mainly comes off in the vocal department with singer Amy Lee Carlson delivering a fairly talk-type, (roughed up) voice. “Who Am I” goes even further back in time sound / concept wise sporting an all-out, classic HardRock riff. Programming on this one is more in-depth with a nice break, acceleration and some cool guitarwork. Demo concludes with “By Any Means”' THE heaviest track of the set, calling at mid-80's Euro Metal with some heavy rifage and the vocals alternating rough modes and slightly melodic lines. In all, a very enjoyable, no frills HardRock /Metal affair exactly the way it was done some 35 years ago!
specs: limited to 100 hand numbered copies
Paul van der Burght
SLEEPY HOLLOW – CD 2016 “Tales Of Gods And Monsters”
label: Pure Steel records
songs: Black Horse Named Death / Sons Of Osiris / Alone In the Dark / Bound By Blood / Goddess Of Fire / On Blackened Seas / Baphomet / Creation Abomination / Shapeshifter / Time Traveller / Shadowlands //
web: www.sleepyhollowmetal.com/
After an absence from the scene for years, U.S Metalers Sleepy Hollow re-entered the circuit with the 2012 “Skull 13” album, and have now come back in full force with a new singer, Chapel Stormcrow, and a new set of songs, captured on “Tales Of Gods And Monsters”. The album title and cover art already indicate what's on offer; a blend of American mould, 90's Atmospheric PowerMetal centered around a Mythical concept that is perfectly voiced by singer Chapel, delivering a semi-narrative like level-tone voice in a low, mid-range key. Music mainly rolls on up-tempo beats with some moderate and slower tempos to accommodate the more ominous sphered “Sons Of Osiris” and the pounding, Dio-meets-Danzig like “On Blackened Seas”, and the low-toned “Creation Abomination”. Certain tracks have a similar approach and atmosphere referring to the up-tempo tracks, “Goddess Of Fire”, “Shapeshifter” and “Time Traveller” and the overall setup of songs is rather static, but it sort of suits the music. Most of the atmospheres on the album are funnelled by the Dark sphered synths and the 'stretched' vocal-lines of Chapel Stormcrow. With its easy access and riff-based themes, “Tales Of Gods And Monsters” makes one enjoyable listening affair that moves somewhere in between Kryptic Kurse, Danzig, and Candlemass.
Paul van der Burght
label: Pure Steel records
songs: Black Horse Named Death / Sons Of Osiris / Alone In the Dark / Bound By Blood / Goddess Of Fire / On Blackened Seas / Baphomet / Creation Abomination / Shapeshifter / Time Traveller / Shadowlands //
web: www.sleepyhollowmetal.com/
After an absence from the scene for years, U.S Metalers Sleepy Hollow re-entered the circuit with the 2012 “Skull 13” album, and have now come back in full force with a new singer, Chapel Stormcrow, and a new set of songs, captured on “Tales Of Gods And Monsters”. The album title and cover art already indicate what's on offer; a blend of American mould, 90's Atmospheric PowerMetal centered around a Mythical concept that is perfectly voiced by singer Chapel, delivering a semi-narrative like level-tone voice in a low, mid-range key. Music mainly rolls on up-tempo beats with some moderate and slower tempos to accommodate the more ominous sphered “Sons Of Osiris” and the pounding, Dio-meets-Danzig like “On Blackened Seas”, and the low-toned “Creation Abomination”. Certain tracks have a similar approach and atmosphere referring to the up-tempo tracks, “Goddess Of Fire”, “Shapeshifter” and “Time Traveller” and the overall setup of songs is rather static, but it sort of suits the music. Most of the atmospheres on the album are funnelled by the Dark sphered synths and the 'stretched' vocal-lines of Chapel Stormcrow. With its easy access and riff-based themes, “Tales Of Gods And Monsters” makes one enjoyable listening affair that moves somewhere in between Kryptic Kurse, Danzig, and Candlemass.
Paul van der Burght
IDLEWAR – CD EP 2016 “Dig In”
label: private
songs: Chunk Of Me / Out Of My Head / Eleventeen / Feel The Pain / Stronger //
web: http://www.idlewar.com/ http://facebook.com/idlewartheband
Five song offering by this Orange County based three-piece, featuring some Bluesed up 'Nu' HardRock with a classic root; think The Free (“Feel The Pain”) and the older, more Bluesy work of Deep Purple and Whitesnake with added monster-riffs and some crisp, roughed-up vocals that occasionally bring Bon Scott (AC/DC) to mind. Songs are mainly slow / moderately paced with the New York Rock styled mid-tempo stomper “Chunk Of Me” as the faster pick of the bunch. Riffs are gripping and the guitars 'grainy' which adds up to the pure, live-like sound of it all. Cool.
Paul van der Burght
label: private
songs: Chunk Of Me / Out Of My Head / Eleventeen / Feel The Pain / Stronger //
web: http://www.idlewar.com/ http://facebook.com/idlewartheband
Five song offering by this Orange County based three-piece, featuring some Bluesed up 'Nu' HardRock with a classic root; think The Free (“Feel The Pain”) and the older, more Bluesy work of Deep Purple and Whitesnake with added monster-riffs and some crisp, roughed-up vocals that occasionally bring Bon Scott (AC/DC) to mind. Songs are mainly slow / moderately paced with the New York Rock styled mid-tempo stomper “Chunk Of Me” as the faster pick of the bunch. Riffs are gripping and the guitars 'grainy' which adds up to the pure, live-like sound of it all. Cool.
Paul van der Burght
HOLY GRAIL – CD / LP 20156 “Times Of Pride And Peril”
label: Prosthetic records http://prostheticrecords.com/
songs: Crystal King / Waste Them All Away / Sudden Death / Those Who Will Remain / Descent Into The Maelstrom / Apotheosis / Psychomachia / No More Heroes / Pro Patria Mori / Black Lotus //
web: http://www.holygrailofficial.com/
Third album by this Pasadena (USA) based band, engaging a melodic-edged mix of Modern Metal and 90's PowerMetal with an occasional splash of 80's Metal. Music is largely guitar oriented, almost Scandinavian style, and features lots of virtuoso guitar chops, sweep picking (“Psychomachia”), melodic harmonies and balanced guitar flash with substance. This cohesion of melody and power that surrounds the album mostly finds its expression in the guitar department but also works its wonders in the vocal delivery of singer James Paul Luna, laying down a solid, upper mid-range voice with a melodic appearance and roughened modes (that triggers an occasional resemblance to his former band White Wizzard). In essence, Holy Grail have s strong sense for melody and structure, complimenting the skill and quality of this unit. Songs are mostly moderately / mid-paced and up-tempo driven with faster moments in the shape of the upbeat driven “Sudden Death”, “No More Heroes” and the 1st half of the 80's styled “Black Lotus”. Concept wise, “Times Of Pride And Peril” sounds like a cocktail of White Wizzard, Pretty Maids and Malmsteen that sounds really good 10 songs in a row. Great band, great album.
Paul van der Burght
label: Prosthetic records http://prostheticrecords.com/
songs: Crystal King / Waste Them All Away / Sudden Death / Those Who Will Remain / Descent Into The Maelstrom / Apotheosis / Psychomachia / No More Heroes / Pro Patria Mori / Black Lotus //
web: http://www.holygrailofficial.com/
Third album by this Pasadena (USA) based band, engaging a melodic-edged mix of Modern Metal and 90's PowerMetal with an occasional splash of 80's Metal. Music is largely guitar oriented, almost Scandinavian style, and features lots of virtuoso guitar chops, sweep picking (“Psychomachia”), melodic harmonies and balanced guitar flash with substance. This cohesion of melody and power that surrounds the album mostly finds its expression in the guitar department but also works its wonders in the vocal delivery of singer James Paul Luna, laying down a solid, upper mid-range voice with a melodic appearance and roughened modes (that triggers an occasional resemblance to his former band White Wizzard). In essence, Holy Grail have s strong sense for melody and structure, complimenting the skill and quality of this unit. Songs are mostly moderately / mid-paced and up-tempo driven with faster moments in the shape of the upbeat driven “Sudden Death”, “No More Heroes” and the 1st half of the 80's styled “Black Lotus”. Concept wise, “Times Of Pride And Peril” sounds like a cocktail of White Wizzard, Pretty Maids and Malmsteen that sounds really good 10 songs in a row. Great band, great album.
Paul van der Burght
VETTEN ÄPÄRÄT – CD 2016 “Synty Talven Kyynelistae”
label: Inverse records
songs: Ancient's Call / Exile / Brothers Of Hate / Winterheart's Silence / Winter Darkness / Grief Of Woods / Sydantalven Viha / Heratys / Swords' Dance / Wind Of Exhaustion / Ice Made New Kingdom / I Heard Them / Vala //
web: https://www.facebook.com/vettenaparat
Debut album by these Finnish Folksters, engaging a typical, Nordic interpretation to the genre that is set in a cold, dramatic atmosphere as depicted on the cover. Musical wise, Vetten Äpärät employs quite a few genres and styles to phase with their Folk based themes. This includes Metal, BlackMetal, Thrash, DeathThrash, Goth and even Industrial Metal, as evidenced on the fast paced,4n hyper double-bass drummed “Exile”. Album basically is a collection of fast-paced tracks and spoken / atmospheric interludes that give the concept this Epic, tale-like appearance. This then triggers this movie / soundtrack like vibe, as highlighted on the ominous intro “Heratys” with its tom-drums, spoken word and Gregorian chants, repeated on the outro “Vala”. The vocals of frontman Sami nicely spice things up in a heavy fashion, delivering a gaspy, talk-type voice with Thrash / HardCore styled excerpts! Songs are dressed with a lot of timing and melody changes, partnering with plenty of synths / guitar harmonies and leads. This is the kind of stuff that Skyclad did some 25 years ago, and Vetten Aepaeraet are doing it all over again in their own style and with a lot of conviction. Strong!
Paul van der Burght
label: Inverse records
songs: Ancient's Call / Exile / Brothers Of Hate / Winterheart's Silence / Winter Darkness / Grief Of Woods / Sydantalven Viha / Heratys / Swords' Dance / Wind Of Exhaustion / Ice Made New Kingdom / I Heard Them / Vala //
web: https://www.facebook.com/vettenaparat
Debut album by these Finnish Folksters, engaging a typical, Nordic interpretation to the genre that is set in a cold, dramatic atmosphere as depicted on the cover. Musical wise, Vetten Äpärät employs quite a few genres and styles to phase with their Folk based themes. This includes Metal, BlackMetal, Thrash, DeathThrash, Goth and even Industrial Metal, as evidenced on the fast paced,4n hyper double-bass drummed “Exile”. Album basically is a collection of fast-paced tracks and spoken / atmospheric interludes that give the concept this Epic, tale-like appearance. This then triggers this movie / soundtrack like vibe, as highlighted on the ominous intro “Heratys” with its tom-drums, spoken word and Gregorian chants, repeated on the outro “Vala”. The vocals of frontman Sami nicely spice things up in a heavy fashion, delivering a gaspy, talk-type voice with Thrash / HardCore styled excerpts! Songs are dressed with a lot of timing and melody changes, partnering with plenty of synths / guitar harmonies and leads. This is the kind of stuff that Skyclad did some 25 years ago, and Vetten Aepaeraet are doing it all over again in their own style and with a lot of conviction. Strong!
Paul van der Burght
AS DARKNESS DIES – CD 2015 “As Darkness Dies”
label: Pure Steel records www.puresteel-records.com
songs: Black Death / Cloaked In Darkness / Searching For Light / Silent Wings / Ghost / Other Side / High Road / World Of Decay / Life Incomplete / One Mistake / Demons / Far Away (Bonustrack)
web: www.asdarknessdies.com www.facebook.com/OfficialAsDarknessDies
Previously known as Graven Image, this Connecticut based outfit released a full-lengther, “The Future Started Yesterday” in 2012. With a new moniker, As Darkness Dies, the band returned at full strength with a new, self-titled release that walks the fine line between late 80's and early to mid 90's U.S. PowerMetal. The band gets straight into gear with “Black Death”; a driven, melodic edged yet heavily riffed upbeat Power / Speed Metaler with beefy vocalage, a lot of guitar and tight mobility drummage. This song captures all the elements of PowerMetal in a traditional fashion with a proper sense for structure and versatility without overdoing it in the technical department. Next up is “Cloaked in Darkness”; an ominous intro that leads into to the vocal oriented and slightly Progressive edged, melodic PowerMetaler “Searching For Light” rolling on a mid-tempo with galloping riffage and rhythmic drums. “Silent Wings” follows the same riff-based / mid-tempo routine with the trademark harmonized guitars that are an essential element throughout the set. “Ghost” has this heavy balladry going Queensryche style, partnering HardRock with PowerMetal as the song intensifies halfway through. “Other Side” takes the balladry a step further up in a predominantly vocal / acoustic guitar setting. This one highlights the vocal abilities of frontman Martin O'Brien delivering melody and muscle, topping the upper range with a rough edge and a solid vibrato. “High Road” is a thumping, moderately paced PowerMetaler with a rhythmic vibe, and the powerhouse vocals of Martin in the centre of attention once again. “World Of Decay” is among the heavier picks of the album but does not give that away gauging its dramatic, atmospheric laden beginning before turning into a galloping, rhythmic (Power) Metaler. “Life Incomplete” has a same sort of beginning and develops as a driven, mid-tempo Metaler with hints of Razormaid and Obsession (which leads back to the production of the album by Obsession's Mike Vescera). The mid-paced “One Mistake” goes full on U.S. PowerMetal and intensifies as the song furthers with some nice guitar action and double bass chops to accommodate the vocalage. As its title suggests, “Demons” holds this ominous, 90's styled PowerMetal atmosphere rolling on a twofold drive, alternating a slow, grinding tempo and slightly accelerated, rhythmic modes. The album concludes in a light format with the bonus track “Far Away”; a semi-acoustic groovster with a sticky chorus. As Darkness Dies has managed to put together a most convincing and entertaining set of songs, that basically is a succession of highlights in any department; from the performance to the music. It just sticks with a crisp and crystal clear production to do it all justice. Picture a mix of Queensryche, Cyclone Temple, Razormaid, Forte, Deaf Dealer and a hint of Maiden when it comes to nail down the musical concept on this 12 songer that simply is a 10 out of 10 (Power) Metal affair.
Paul van der Burght
label: Pure Steel records www.puresteel-records.com
songs: Black Death / Cloaked In Darkness / Searching For Light / Silent Wings / Ghost / Other Side / High Road / World Of Decay / Life Incomplete / One Mistake / Demons / Far Away (Bonustrack)
web: www.asdarknessdies.com www.facebook.com/OfficialAsDarknessDies
Previously known as Graven Image, this Connecticut based outfit released a full-lengther, “The Future Started Yesterday” in 2012. With a new moniker, As Darkness Dies, the band returned at full strength with a new, self-titled release that walks the fine line between late 80's and early to mid 90's U.S. PowerMetal. The band gets straight into gear with “Black Death”; a driven, melodic edged yet heavily riffed upbeat Power / Speed Metaler with beefy vocalage, a lot of guitar and tight mobility drummage. This song captures all the elements of PowerMetal in a traditional fashion with a proper sense for structure and versatility without overdoing it in the technical department. Next up is “Cloaked in Darkness”; an ominous intro that leads into to the vocal oriented and slightly Progressive edged, melodic PowerMetaler “Searching For Light” rolling on a mid-tempo with galloping riffage and rhythmic drums. “Silent Wings” follows the same riff-based / mid-tempo routine with the trademark harmonized guitars that are an essential element throughout the set. “Ghost” has this heavy balladry going Queensryche style, partnering HardRock with PowerMetal as the song intensifies halfway through. “Other Side” takes the balladry a step further up in a predominantly vocal / acoustic guitar setting. This one highlights the vocal abilities of frontman Martin O'Brien delivering melody and muscle, topping the upper range with a rough edge and a solid vibrato. “High Road” is a thumping, moderately paced PowerMetaler with a rhythmic vibe, and the powerhouse vocals of Martin in the centre of attention once again. “World Of Decay” is among the heavier picks of the album but does not give that away gauging its dramatic, atmospheric laden beginning before turning into a galloping, rhythmic (Power) Metaler. “Life Incomplete” has a same sort of beginning and develops as a driven, mid-tempo Metaler with hints of Razormaid and Obsession (which leads back to the production of the album by Obsession's Mike Vescera). The mid-paced “One Mistake” goes full on U.S. PowerMetal and intensifies as the song furthers with some nice guitar action and double bass chops to accommodate the vocalage. As its title suggests, “Demons” holds this ominous, 90's styled PowerMetal atmosphere rolling on a twofold drive, alternating a slow, grinding tempo and slightly accelerated, rhythmic modes. The album concludes in a light format with the bonus track “Far Away”; a semi-acoustic groovster with a sticky chorus. As Darkness Dies has managed to put together a most convincing and entertaining set of songs, that basically is a succession of highlights in any department; from the performance to the music. It just sticks with a crisp and crystal clear production to do it all justice. Picture a mix of Queensryche, Cyclone Temple, Razormaid, Forte, Deaf Dealer and a hint of Maiden when it comes to nail down the musical concept on this 12 songer that simply is a 10 out of 10 (Power) Metal affair.
Paul van der Burght
HOODED EAGLE – CD 2015 “Nightscapes From The Abyssal Plane”
label: Swamp Metal records
songs: There Is No Goodness Left In This World / I Have Dreams... / Of Cosmic Horror / The Path Of Eternal Sorrow / From Thence Came Woe / Repercussions Of Actions Long Regretted / The Sleeper Will Wake And The Earth Will Bleed //
web: https://www.facebook.com/HoodedEagle
“Nightscapes From The Abyssal Plane” or 'The chronicle of a man's journey into madness' by South Caroline based unit Hooded Eagle is an amalgam of melodic edged Doom, instrumental passages, extreme vocalage and this dark, depressing Nordic style atmosphere. The Scandinavian mood appears in a BlackMetal ish format, triggered by the talk-type vocalage and the (high-low-and-reversed) riffage. The material goes through various timing and melody changes; from slow-motion and moderately paced to moderately fast, spanning song durations that easily cross the 10 minute mark, clocking in at 14+ up to 18+ minutes! The Doom elements pretty much rules the album, with the BlackMetal thing coming in next and most evidently on “I Have Dreams” incorporating fast, snare drummed beats and Nordic-style BM guitars alongside the slow-motion sludge riffage. In addition, some BlackMetal accelerations are applied towards the end of certain tracks. Quite remarkable is the one-off presence of Thrash guitars over an upbeat-tempo approaching the end of “From Thence Came Woe”. The vocalage of singer / bassist Lynn Wise tilt the whole thing over to the more extreme levels, laying down some incredibly intense scream gurgles / grunts that tend towards the GrindCore format. Strong debut, competent band.
Paul van der Burght
label: Swamp Metal records
songs: There Is No Goodness Left In This World / I Have Dreams... / Of Cosmic Horror / The Path Of Eternal Sorrow / From Thence Came Woe / Repercussions Of Actions Long Regretted / The Sleeper Will Wake And The Earth Will Bleed //
web: https://www.facebook.com/HoodedEagle
“Nightscapes From The Abyssal Plane” or 'The chronicle of a man's journey into madness' by South Caroline based unit Hooded Eagle is an amalgam of melodic edged Doom, instrumental passages, extreme vocalage and this dark, depressing Nordic style atmosphere. The Scandinavian mood appears in a BlackMetal ish format, triggered by the talk-type vocalage and the (high-low-and-reversed) riffage. The material goes through various timing and melody changes; from slow-motion and moderately paced to moderately fast, spanning song durations that easily cross the 10 minute mark, clocking in at 14+ up to 18+ minutes! The Doom elements pretty much rules the album, with the BlackMetal thing coming in next and most evidently on “I Have Dreams” incorporating fast, snare drummed beats and Nordic-style BM guitars alongside the slow-motion sludge riffage. In addition, some BlackMetal accelerations are applied towards the end of certain tracks. Quite remarkable is the one-off presence of Thrash guitars over an upbeat-tempo approaching the end of “From Thence Came Woe”. The vocalage of singer / bassist Lynn Wise tilt the whole thing over to the more extreme levels, laying down some incredibly intense scream gurgles / grunts that tend towards the GrindCore format. Strong debut, competent band.
Paul van der Burght
NORTHERN DARKNESS print 'zine & distro
web: https://www.facebook.com/northerndarknessprintzine
Northern Darkness is a U.K based print fanzine that promotes and features Black Metal, Old-School Swedish style Death Metal, Traditional / Stoner, Death, Doom Metal and some Speed / heavy / ThrashMetal from around the globe. Northern Darkness print 'zine also has a distro-service, selling tapes, CD's, patches, vinyl and t-shits. Those wanting to be featured in Northern Darkness 'zine can contact editor / publisher Luke Hayhurts at: luke.hayhurst@outlook.com More info and merch available at the distro via this link: http://northerndarknessprintzine.bigcartel.com/
web: https://www.facebook.com/northerndarknessprintzine
Northern Darkness is a U.K based print fanzine that promotes and features Black Metal, Old-School Swedish style Death Metal, Traditional / Stoner, Death, Doom Metal and some Speed / heavy / ThrashMetal from around the globe. Northern Darkness print 'zine also has a distro-service, selling tapes, CD's, patches, vinyl and t-shits. Those wanting to be featured in Northern Darkness 'zine can contact editor / publisher Luke Hayhurts at: luke.hayhurst@outlook.com More info and merch available at the distro via this link: http://northerndarknessprintzine.bigcartel.com/
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Model Lust Wanderlust. Above left: photo by Greg Eckels / Greg Eckels Photography. Above right: photo by Top Hat Cat Photography
Model LUST WANDERLUST
web: www.facebook.com/LustWanderlust https://www.instagram.com/lust.wanderlust/
http://purpleport.com/portfolio/lustwanderlust
Lust Wanderlust is a London-based Alternative Model from Spain that has been doing shoots for over two years and is now also studying Poi-Dance as a performing Art with the aim to become a fire-dancer. Musically, Lust Wanderlust likes all kinds of Metal, but especially Viking / Power and Symphonic Metal like Haggard, Ensiferum, Finntroll, Turisas, Nightwish and Sonata Arctica
Photographers:
Top Hat Cat Photography https://www.facebook.com/TopHatCatPhotography.
Greg Eckels / Greg Eckels Photography: http://www.gregeckelsphotography.com/
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Model Lust Wanderlust. Above left and right; photos by Top Hat Cat Photography
OLD WOLF – DEMO TAPE 2016
label: Swords and Chains records
web: www.facebook.com/Old-Wolf-457056087835995/
Debut demo by this Kentucky (USA) based band, that tag themselves as 'Crusaders for the New Wave Of Traditional Heavy Metal'. The three songs on offer truly testify to this, adopting a melodic brand of old-school Metal that is played in the tradition of the more melodic, melody-oriented bands from the early NWOBHM era. Songs are all shaped by melodic (harmony) leads, a lot of twin hooks and modest, upper-range vocals. The guitars are the prime element within the music, highlighted on the slightly Epic / Folk edged “Trail Of Tears” featuring some Maiden-ish melodies, that come re-appearing on the fastest track of the demo, “Your Keeper”; a catchy upbeat track that is driven by galloping rhythm riffs and a steady beat with the vocals going further up in pitch. This is one subtle and neat set of songs that stick straight away. Cool
specs: limited to 100 hand numbered copies
Paul van der Burght
label: Swords and Chains records
web: www.facebook.com/Old-Wolf-457056087835995/
Debut demo by this Kentucky (USA) based band, that tag themselves as 'Crusaders for the New Wave Of Traditional Heavy Metal'. The three songs on offer truly testify to this, adopting a melodic brand of old-school Metal that is played in the tradition of the more melodic, melody-oriented bands from the early NWOBHM era. Songs are all shaped by melodic (harmony) leads, a lot of twin hooks and modest, upper-range vocals. The guitars are the prime element within the music, highlighted on the slightly Epic / Folk edged “Trail Of Tears” featuring some Maiden-ish melodies, that come re-appearing on the fastest track of the demo, “Your Keeper”; a catchy upbeat track that is driven by galloping rhythm riffs and a steady beat with the vocals going further up in pitch. This is one subtle and neat set of songs that stick straight away. Cool
specs: limited to 100 hand numbered copies
Paul van der Burght
DESTRUCTOR – CD 2016 “Back In Bondage”
label: Pure Steel records
songs: Fight / Final Solution / G-Force / N.B.K. / Pompeii / Powerslave / The Shedding Of Blood And Tears / Tornado / Triangle //
web: https://www.facebook.com/DestructorMetal/
The legend that is Destructor is back with a new album that carries forward the PowerThrash tradition of their '85 “Maximum Destruction” debut! Cleveland's Destructor were one of the pioneers to merge PowerMetal with Thrash back in the mid 80's, and are still doing so. This becomes evident right from the opening tunes of “Fight”, a driven upbeat track with a very energetic appearance funnelled through the buzzing chainsaw guitars and the distinctive, raised powervocals of frontman Dave Overkill. Destructor always had a liking for grinding tracks, and “Final Solution” is all that, moving in a moderate pace with some accelerations slipped in. The great, rhythmic drummage of Matt Flammable that runs thorughout the disc is highlighted on the driven,mid-paced “G-Force” that turns into an all-80's SpeedMetaler halfway down. The essence of Destructor's music lies in gripping, straight forward themes, slow, pounding tempos, heavy riffage and a high intensity level. The diversity within songs and concept as a whole is appropriate and suits the genre. A bit of a novelty thing within the sound of Destructor is the presence of a semi-Powerballad esque tune in the shape of “The Shedding Of Blood And Tears”. On the other side of the spectrum is the album's heaviest outings, “Tornado” (a crunching PowerTrasher with speedy parts and some cool, rhythmic drums layers) and the driven SpeedMetaler “Triangle”. Solid!
Paul van der Burght
label: Pure Steel records
songs: Fight / Final Solution / G-Force / N.B.K. / Pompeii / Powerslave / The Shedding Of Blood And Tears / Tornado / Triangle //
web: https://www.facebook.com/DestructorMetal/
The legend that is Destructor is back with a new album that carries forward the PowerThrash tradition of their '85 “Maximum Destruction” debut! Cleveland's Destructor were one of the pioneers to merge PowerMetal with Thrash back in the mid 80's, and are still doing so. This becomes evident right from the opening tunes of “Fight”, a driven upbeat track with a very energetic appearance funnelled through the buzzing chainsaw guitars and the distinctive, raised powervocals of frontman Dave Overkill. Destructor always had a liking for grinding tracks, and “Final Solution” is all that, moving in a moderate pace with some accelerations slipped in. The great, rhythmic drummage of Matt Flammable that runs thorughout the disc is highlighted on the driven,mid-paced “G-Force” that turns into an all-80's SpeedMetaler halfway down. The essence of Destructor's music lies in gripping, straight forward themes, slow, pounding tempos, heavy riffage and a high intensity level. The diversity within songs and concept as a whole is appropriate and suits the genre. A bit of a novelty thing within the sound of Destructor is the presence of a semi-Powerballad esque tune in the shape of “The Shedding Of Blood And Tears”. On the other side of the spectrum is the album's heaviest outings, “Tornado” (a crunching PowerTrasher with speedy parts and some cool, rhythmic drums layers) and the driven SpeedMetaler “Triangle”. Solid!
Paul van der Burght
GORGUTS – 2016 EP “Pleiades Dust”
label: Season Of Mist
web: http://www.gorguts.com/
One song, 33 minutes.. goes to show that veteran Deathsters Gorguts are (still) anything but ordinary. Canadian act Gorguts are one of the pioneers of Progressive DeathMetal and they haven't lost their touch ever since the '91 “Considered Dead” debut. “Pleiades Dust” holds hight the Progressive DeathMetal tradition and shows how its done! “Pleiades Dust” is a mere, instrumentall affair with the occasional bit of slow, talked gruntage by Luc Lemay (guitars, vocals). The whole thing is given value by minor key tones and a rather depressing atmosphere that goes really dark and almost Doomy like at the 20+ minute mark. “Pleiades Dust” is one very cleverly constructed affair, hallmarked by expert instrumentation and clockwork timing, rolling on mobility drum drives. There's time the music has a slight Industrial edge (without synths usage or anything) but overall, this is as Progressive as can be, pushing the boundaries of technicality in the more extreme music format. Intelligent!
Paul van der Burght
label: Season Of Mist
web: http://www.gorguts.com/
One song, 33 minutes.. goes to show that veteran Deathsters Gorguts are (still) anything but ordinary. Canadian act Gorguts are one of the pioneers of Progressive DeathMetal and they haven't lost their touch ever since the '91 “Considered Dead” debut. “Pleiades Dust” holds hight the Progressive DeathMetal tradition and shows how its done! “Pleiades Dust” is a mere, instrumentall affair with the occasional bit of slow, talked gruntage by Luc Lemay (guitars, vocals). The whole thing is given value by minor key tones and a rather depressing atmosphere that goes really dark and almost Doomy like at the 20+ minute mark. “Pleiades Dust” is one very cleverly constructed affair, hallmarked by expert instrumentation and clockwork timing, rolling on mobility drum drives. There's time the music has a slight Industrial edge (without synths usage or anything) but overall, this is as Progressive as can be, pushing the boundaries of technicality in the more extreme music format. Intelligent!
Paul van der Burght
KORGONTHURUS – MC / CD / LP 2016 “Vuohen Siunaus”
label: Woodcut records http://www.woodcutrecords.com
songs: Kaaos / Puhdistuksen Tulet / I.K.P.N. / Vuohen Siunaus / Inho / Ihmisyyden Raunioilla / Lux //
web: https://www.facebook.com/KorgonthurusOfficial/?fref=ts
Finnish act that came into existence in 2000 and belted out 2 demo tapes, “Root Of Evil” and “Black Wings Of Hate”, prior to their 2 year hiatus, and followed it up with several split releases, a self titled MLP and a full-length album, “Marras”. Throughout their career, Korgonthurus has been 'plagued' by line-up changes but with a strong line-up, including 2 new guitarists, the band, led by ex Horna frontman Corvus is back in form with the release of their latest work, “Vuohen Siunaus”, released through Woodcut records. What strikes instantly is the duration of tracks, all of which are well over the 4 minute mark and closing tune “Lux” clocking in at a massive 14+minutes! This may suggest a Progressive twist to the concept, however there's none of that. Instead, there's a hang to the Atmospheric / Ambient thing in a dramatic / Nordic setting which covers the second half of “Lux” in an instrumental only setting. Underneath the atmospheres is an all-out Scandinavian / Nordic BlackMetal sound that is shaped by bashing drums, trebly rhythm guitars and some very intense, gaspy vocal raps BlackMetal style. It is the vocals and the drummage that once tend to tip the band over towards Grind in extremity levels, as witnessed on the fast chops of “Inho”. Mere offering however is considerably slower, often in a combination of slow-fast-slow sections. Fastest moments on the album are the aforementioned and the titletrack. “I.K.P.N” is among the more atmospheric, slower selections with some semi-acoustic guitars running underneath; a nice feature that is also integrated as the balanced part of the fast, bashing ”Puhdistuksen Tulet”. Strong point throughout is the balance between balanced and more extreme parts with some cool, added features such as powergroove-riffage (“Kaaos”) and gurgled gruntage. A solid production and a full sound further top this product. Quality!
Paul van der Burght
label: Woodcut records http://www.woodcutrecords.com
songs: Kaaos / Puhdistuksen Tulet / I.K.P.N. / Vuohen Siunaus / Inho / Ihmisyyden Raunioilla / Lux //
web: https://www.facebook.com/KorgonthurusOfficial/?fref=ts
Finnish act that came into existence in 2000 and belted out 2 demo tapes, “Root Of Evil” and “Black Wings Of Hate”, prior to their 2 year hiatus, and followed it up with several split releases, a self titled MLP and a full-length album, “Marras”. Throughout their career, Korgonthurus has been 'plagued' by line-up changes but with a strong line-up, including 2 new guitarists, the band, led by ex Horna frontman Corvus is back in form with the release of their latest work, “Vuohen Siunaus”, released through Woodcut records. What strikes instantly is the duration of tracks, all of which are well over the 4 minute mark and closing tune “Lux” clocking in at a massive 14+minutes! This may suggest a Progressive twist to the concept, however there's none of that. Instead, there's a hang to the Atmospheric / Ambient thing in a dramatic / Nordic setting which covers the second half of “Lux” in an instrumental only setting. Underneath the atmospheres is an all-out Scandinavian / Nordic BlackMetal sound that is shaped by bashing drums, trebly rhythm guitars and some very intense, gaspy vocal raps BlackMetal style. It is the vocals and the drummage that once tend to tip the band over towards Grind in extremity levels, as witnessed on the fast chops of “Inho”. Mere offering however is considerably slower, often in a combination of slow-fast-slow sections. Fastest moments on the album are the aforementioned and the titletrack. “I.K.P.N” is among the more atmospheric, slower selections with some semi-acoustic guitars running underneath; a nice feature that is also integrated as the balanced part of the fast, bashing ”Puhdistuksen Tulet”. Strong point throughout is the balance between balanced and more extreme parts with some cool, added features such as powergroove-riffage (“Kaaos”) and gurgled gruntage. A solid production and a full sound further top this product. Quality!
Paul van der Burght
FATAL IMPACT – CD 2015 “Cancel Life”
label: Nadir Music
songs: Hidden in Plain Sight / Mindwar / Too Many Years / Cancel Life / Just a Memory / Manchurian Candidate / Way of the Witch / The Believer / Above and Beyond //
web: http://www.fatalimpact.no/
Norwegian unit Fatal Impact first hit the scene with the release of the private press album “Law Of Repulsion” in 2008. The follow-up “Esoteria” was released in 2012 through Nadir Music, as is the case with their latest offering, “Cancel Life”. Knowing Tommy Talamanca (Sadist) was responsible for the recording, mixing and mastering, it is a giveaway that the music on offer is anything but straight forward. First tune up, “Hidden In Plain Sight” testifies to this, merging a multitude of styles and atmospheres. This one features Goth-like moods and synthesiser, 90's Thrash / Metal (Core) with backing shouts and chants a la System Of A Down, all partnering with PowerMetal and Nu-Metal vocalage! As such, the vocals are the most versatile element but somehow fail to deliver the punch in some of its appearances, particularly the rough modus. It is the classic PowerMetal voice that sounds best out of all. Instrumental and structural wise it all sticks together very well with some great, allround drummage featuring plenty of double-bass hooks that usually operate in a faster drive under a slower song-tempo. The riffage is quite heavy in contrast to the music, including buzzing rhythm leads in the 90's Thrash / MetalCore styles, as evidenced on “Hidden In Plain Sight”. Songs are all moderately to mid-tempo driven with the tempo going up to a moderately-fast pace down the 2-tempo type, melodic PowerMetaler “”Manchurian Candidate”. The “Cancel Life” album is one of such albums that sounds better with each spin, and there is no way escaping the impact and groove of the commercially aimed, Goth / Industrial Popster “Too Many Years” that could even have the Epic PowerMetal crowd chanting along! Knowing that Fatal Impact is not distinctive in one or two genres may work against them, but that doesn't take away the fact that “Cancel Life” is a proper album and Fatal Impact definitely are a band with abilities. Interesting.
Paul van der Burght
label: Nadir Music
songs: Hidden in Plain Sight / Mindwar / Too Many Years / Cancel Life / Just a Memory / Manchurian Candidate / Way of the Witch / The Believer / Above and Beyond //
web: http://www.fatalimpact.no/
Norwegian unit Fatal Impact first hit the scene with the release of the private press album “Law Of Repulsion” in 2008. The follow-up “Esoteria” was released in 2012 through Nadir Music, as is the case with their latest offering, “Cancel Life”. Knowing Tommy Talamanca (Sadist) was responsible for the recording, mixing and mastering, it is a giveaway that the music on offer is anything but straight forward. First tune up, “Hidden In Plain Sight” testifies to this, merging a multitude of styles and atmospheres. This one features Goth-like moods and synthesiser, 90's Thrash / Metal (Core) with backing shouts and chants a la System Of A Down, all partnering with PowerMetal and Nu-Metal vocalage! As such, the vocals are the most versatile element but somehow fail to deliver the punch in some of its appearances, particularly the rough modus. It is the classic PowerMetal voice that sounds best out of all. Instrumental and structural wise it all sticks together very well with some great, allround drummage featuring plenty of double-bass hooks that usually operate in a faster drive under a slower song-tempo. The riffage is quite heavy in contrast to the music, including buzzing rhythm leads in the 90's Thrash / MetalCore styles, as evidenced on “Hidden In Plain Sight”. Songs are all moderately to mid-tempo driven with the tempo going up to a moderately-fast pace down the 2-tempo type, melodic PowerMetaler “”Manchurian Candidate”. The “Cancel Life” album is one of such albums that sounds better with each spin, and there is no way escaping the impact and groove of the commercially aimed, Goth / Industrial Popster “Too Many Years” that could even have the Epic PowerMetal crowd chanting along! Knowing that Fatal Impact is not distinctive in one or two genres may work against them, but that doesn't take away the fact that “Cancel Life” is a proper album and Fatal Impact definitely are a band with abilities. Interesting.
Paul van der Burght
ENTHEAN – CD 2016 “Priests Of Annihilation”
label: private
songs: 1054 / Tones Of Desecration / Before You, I Am / Dysthasia / Ekpyrosis / Behold The Primordial / Bring Forth The Raven / Invalesc De Profundis //
web: http://www.entheanmetal.com/
“Priests Of Annihilation” is the debut album by South Carolina Progressive Deathsters Enthean that have put together a most impressive, and technically mind-blowing set of songs here. Enthean goes through a multitude of timing and melody changes with pin-point precision, and occasionally incorporates classical / orchestral like fragments highlighting the musical virtuosity, as evidenced on “1054” and masterpiece “Ekpyrosis” that is patterned upon dazzling lead harmonies. The set features a lot of synths 'choir' samples that give the music this ominous, dark atmosphere. “Priests Of Annihilation” is largely riff / guitar oriented and as such it comes with the whole spectrum of features, including harmonized melodies, sweep-picking, classical modes and allround flash. The vocals are gaspy in a talk-type grunt style with a few, regular voice, level-tone modes to accommodate the atmosphere(s). Completely in accordance with the genre is the use of hyper-speed double bass drums, alternated by blast beats, as captured on the slightly BlackMetal tinged “Before You, I Am”. Enthean managed to create a sound and concept that really hits the mark in both atmosphere, delivery and songwriting one could sum up as a dark Symphony. Excellent!
Paul van der Burght
label: private
songs: 1054 / Tones Of Desecration / Before You, I Am / Dysthasia / Ekpyrosis / Behold The Primordial / Bring Forth The Raven / Invalesc De Profundis //
web: http://www.entheanmetal.com/
“Priests Of Annihilation” is the debut album by South Carolina Progressive Deathsters Enthean that have put together a most impressive, and technically mind-blowing set of songs here. Enthean goes through a multitude of timing and melody changes with pin-point precision, and occasionally incorporates classical / orchestral like fragments highlighting the musical virtuosity, as evidenced on “1054” and masterpiece “Ekpyrosis” that is patterned upon dazzling lead harmonies. The set features a lot of synths 'choir' samples that give the music this ominous, dark atmosphere. “Priests Of Annihilation” is largely riff / guitar oriented and as such it comes with the whole spectrum of features, including harmonized melodies, sweep-picking, classical modes and allround flash. The vocals are gaspy in a talk-type grunt style with a few, regular voice, level-tone modes to accommodate the atmosphere(s). Completely in accordance with the genre is the use of hyper-speed double bass drums, alternated by blast beats, as captured on the slightly BlackMetal tinged “Before You, I Am”. Enthean managed to create a sound and concept that really hits the mark in both atmosphere, delivery and songwriting one could sum up as a dark Symphony. Excellent!
Paul van der Burght
BATTLEX – CD 2016 “Imminent Downfall”
label: private
songs: Break Your Bones / Raise Hell / Final Confrontation / Face To Face /Dignity / The Hierophant / Whispers In The Sand / Circus Of Trust / The Ascent / Imminent Downfall //
web: https://www.facebook.com/battlexband/
Slovenian band engaging a variety of Thrash including 80's & 90's Thrash and an occasional touch upon the Nu Thrash Metal sound (“Raise Hell”, “Final Confrontation”, “Dignity”) and Metal (“The Hierophant”). BattleX display a strong taste of Metallica throughout, and thing that is most evident in the riff-department looking at songs such as the 80's Thrash-meets-HardRock speedster “Break Your Bones”, but there's also slight hints in the vocal department. The singing style however, takes a completely different turn on the Modern-style Thrasher “Dignity”, and that also applies to the guitars, integrating those Nu styled melodies. The main chunk of the set is mid to up-tempo driven with faster moments in the shape of “Break Your Bones”, and the accelerations alongside the up-tempos of the slightly Testament-ish “Face To Face”. Nice twist to the rather straight-forward programming of the set ate the semi-acoustics down the balladry of “The Hierophant” (before morphing into a mid-paced Metaler) and the titletrack; by far the most in-depth offering here, complete with Annihilator styled, semi-acoustic intro (“The Ascent”). As goes with the territory, material is largely riff-oriented and catchy by nature, complimenting the allround accessibility of “Imminent Downfall”. Nice
Paul van der Burght
label: private
songs: Break Your Bones / Raise Hell / Final Confrontation / Face To Face /Dignity / The Hierophant / Whispers In The Sand / Circus Of Trust / The Ascent / Imminent Downfall //
web: https://www.facebook.com/battlexband/
Slovenian band engaging a variety of Thrash including 80's & 90's Thrash and an occasional touch upon the Nu Thrash Metal sound (“Raise Hell”, “Final Confrontation”, “Dignity”) and Metal (“The Hierophant”). BattleX display a strong taste of Metallica throughout, and thing that is most evident in the riff-department looking at songs such as the 80's Thrash-meets-HardRock speedster “Break Your Bones”, but there's also slight hints in the vocal department. The singing style however, takes a completely different turn on the Modern-style Thrasher “Dignity”, and that also applies to the guitars, integrating those Nu styled melodies. The main chunk of the set is mid to up-tempo driven with faster moments in the shape of “Break Your Bones”, and the accelerations alongside the up-tempos of the slightly Testament-ish “Face To Face”. Nice twist to the rather straight-forward programming of the set ate the semi-acoustics down the balladry of “The Hierophant” (before morphing into a mid-paced Metaler) and the titletrack; by far the most in-depth offering here, complete with Annihilator styled, semi-acoustic intro (“The Ascent”). As goes with the territory, material is largely riff-oriented and catchy by nature, complimenting the allround accessibility of “Imminent Downfall”. Nice
Paul van der Burght
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HELLRIPPER – cassette EP 2015 “The Manifestation Of Evil
songs: Fleshripper / Total Mayhem / Black Mass Sacrifice / Trial By Fire //
web: https://hellripper.bandcamp.com/
Hellripper is a one-man-band from Aberdeen, Scotland that first hit the scene with “The Manifestation Of Evil” cassette E.P, followed by appearances on some 2 split-releases; one with Batsheva (September 2015), and another one with Acid Cross & Kriegg (November) featuring all new tracks, including “Hell's Rock 'n' Roll”, “Armed With The End” (Rats Of Reality cover), “Full Moon Witchery” and Necroslut”. Hellripper plays bare knuckle Metal in the old-school tradition. The style singer and instrumentalist James Mc Bain has opted for is a mix of early 80's styled Black / DeathMetal, coupled to the raw, ripping grooves of traditional HardRock. Picture something like a Motorhead / Possessed get-together with some deep, gaspy vocal raps that bring early Bathory to mind. This is most evident on “Total Mayhem”; a fast and repetitive track that is bobbing on a HardRock riff and gruff, talk-type gruntage. More of the same down the harsh sounding “Flesh Ripper”. “Black Mass Sacrifice” is the odd one out, engaging a SpeedMetal ish drive and riff a la Onslaught (“The Force” era). The E.P concludes in true traditional BlackMetal style with “Trial By Fire”,phasing Possessed with Bathory. The E.P clocks in just under 10 minutes, so chances are this thing will be on repeat for a few additional spins! Excellent!
Paul van der Burght
HELLRIPPER interview:
Did you play in band-format before Hellripper?
Hellripper: I had a couple of bands during school which wrote a few songs but never played shows. They were all sort of Punk-style bands. My first 'real' band would be Rats of Reality that was formed in my last year of school (2014) with my friend Peter (drums) with the sole aim of writing and recording a punk E.P DIY. Two years on and we have released 3 E.P's and have been gigging regularly throughout Scotland since.
What was your first acquaintance with Metal, was it the grooves of HardRock / Motorhead, or the more extreme formats / early Black Metal format?
Hellripper: My first encounters with Metal were when I was growing up and Nu-Metal was popular. I wasn't particularly interested in this style though. I became a fan of Metal after hearing Metallica and Megadeth sometime in school. The next day I went out and bought “...And Justice For All' and “Peace Sells ...But Who's Buying?”
It seems like “The Manifestation..” EP is flying out... did you expect such a great response?
Hellripper: Absolutely not! I expected a few people in the local scene would hear it and that would be it. The response has been far far better than I could have imagined and I am grateful for everyone's support!
Thing with one-man-projects is the absence of live-shows; would you consider putting a band together for those occasions?
Hellripper: I have been trying to get a band together for about a year now but because everyone has so much happening (university, college, work, other bands) it has been difficult. I'm still hopeful that Hellripper will play live eventually though and hopefully sooner rather than later.
In the early 80's, sound-quality of, say a cassette and even production did not matter; you have managed to capture this feel... how do / did you record your material?
Hellripper: I record everything at home. I program drums, mic up my amp and record guitars and bass and then record vocals. It's quite a simple set-up and process really. I use the same microphone for everything. I am not trained or anything in sound production etc. so in most cases it is trial and error so maybe that helps for the old-school vibe. I like to use a lot of reverb in case you hadn't noticed! Haha
Cassette, vinyl, or CD?
Hellripper: Perhaps not the answer you are expecting... CD. Of course the sound from vinyl is better but my preference is CD due to the convenience and ability to import the music onto my computer.
Is there a full-length release in the works?
Hellripper: There is a full-length being written at the moment but I have quite a few different things going on musically right now so progress right now is quite slow but it'll get there!
Anything else you'd like to add?
Hellripper: Thanks for taking the time to conduct this interview and thank you to anyone who has listened / downloaded / purchased any of the Hellripper material.
songs: Fleshripper / Total Mayhem / Black Mass Sacrifice / Trial By Fire //
web: https://hellripper.bandcamp.com/
Hellripper is a one-man-band from Aberdeen, Scotland that first hit the scene with “The Manifestation Of Evil” cassette E.P, followed by appearances on some 2 split-releases; one with Batsheva (September 2015), and another one with Acid Cross & Kriegg (November) featuring all new tracks, including “Hell's Rock 'n' Roll”, “Armed With The End” (Rats Of Reality cover), “Full Moon Witchery” and Necroslut”. Hellripper plays bare knuckle Metal in the old-school tradition. The style singer and instrumentalist James Mc Bain has opted for is a mix of early 80's styled Black / DeathMetal, coupled to the raw, ripping grooves of traditional HardRock. Picture something like a Motorhead / Possessed get-together with some deep, gaspy vocal raps that bring early Bathory to mind. This is most evident on “Total Mayhem”; a fast and repetitive track that is bobbing on a HardRock riff and gruff, talk-type gruntage. More of the same down the harsh sounding “Flesh Ripper”. “Black Mass Sacrifice” is the odd one out, engaging a SpeedMetal ish drive and riff a la Onslaught (“The Force” era). The E.P concludes in true traditional BlackMetal style with “Trial By Fire”,phasing Possessed with Bathory. The E.P clocks in just under 10 minutes, so chances are this thing will be on repeat for a few additional spins! Excellent!
Paul van der Burght
HELLRIPPER interview:
Did you play in band-format before Hellripper?
Hellripper: I had a couple of bands during school which wrote a few songs but never played shows. They were all sort of Punk-style bands. My first 'real' band would be Rats of Reality that was formed in my last year of school (2014) with my friend Peter (drums) with the sole aim of writing and recording a punk E.P DIY. Two years on and we have released 3 E.P's and have been gigging regularly throughout Scotland since.
What was your first acquaintance with Metal, was it the grooves of HardRock / Motorhead, or the more extreme formats / early Black Metal format?
Hellripper: My first encounters with Metal were when I was growing up and Nu-Metal was popular. I wasn't particularly interested in this style though. I became a fan of Metal after hearing Metallica and Megadeth sometime in school. The next day I went out and bought “...And Justice For All' and “Peace Sells ...But Who's Buying?”
It seems like “The Manifestation..” EP is flying out... did you expect such a great response?
Hellripper: Absolutely not! I expected a few people in the local scene would hear it and that would be it. The response has been far far better than I could have imagined and I am grateful for everyone's support!
Thing with one-man-projects is the absence of live-shows; would you consider putting a band together for those occasions?
Hellripper: I have been trying to get a band together for about a year now but because everyone has so much happening (university, college, work, other bands) it has been difficult. I'm still hopeful that Hellripper will play live eventually though and hopefully sooner rather than later.
In the early 80's, sound-quality of, say a cassette and even production did not matter; you have managed to capture this feel... how do / did you record your material?
Hellripper: I record everything at home. I program drums, mic up my amp and record guitars and bass and then record vocals. It's quite a simple set-up and process really. I use the same microphone for everything. I am not trained or anything in sound production etc. so in most cases it is trial and error so maybe that helps for the old-school vibe. I like to use a lot of reverb in case you hadn't noticed! Haha
Cassette, vinyl, or CD?
Hellripper: Perhaps not the answer you are expecting... CD. Of course the sound from vinyl is better but my preference is CD due to the convenience and ability to import the music onto my computer.
Is there a full-length release in the works?
Hellripper: There is a full-length being written at the moment but I have quite a few different things going on musically right now so progress right now is quite slow but it'll get there!
Anything else you'd like to add?
Hellripper: Thanks for taking the time to conduct this interview and thank you to anyone who has listened / downloaded / purchased any of the Hellripper material.
WITCHCLAN – 2014 The Dark Binding
label: Elvester records (CD / vinyl) / Darkness Shade records (cassette)
songs: Descend Into Darkness (intro) / Worms Of Hypocrisy / Treading On Angels / Dawn Of The Serpent Kings / Beyond The Seventh Gate / A New Dawn / Paths ToImmortality / Crossing Of The Spheres / Neverending Funeral / Descend Into Madness (outro) //
web: http://www.witchclan.co.uk/
Witchclan is one of the cornerstones of the British Black Metal scene dating back to 1990 when the band entered the scene as Crypt. The band furthered its career as Curse and Hellgrind and finally settled as Witchclan which broke up in 1995. Witchclan resurrected in 2009, now as a one-man project with Matt Bass handling all instruments and growls. In 2011, the newly formatted Witchclan debuted with the “Misanthrope” album, followed by the more recent “The Dark Binding” (2014). After a dark, ominous intro, Witchclan unleashes its 'Bestial Hell Metal' with the 7+ minute “Worms Of Hypocrisy” that is patterned upon propelling bassdrums and 'wavy' guitars that match up to the 'floating', talk type gasp vocalage of Matt Bass. This is BlackMetal with a certain ambience to it, and backed with a remarkably deep and beefy production for a band of this nature. So, no flat sounding drums here, no trebly guitars, no basement production or shrieky vocalage. Witchclan truly has an original sound in BlackMetal territories and does not shy away from crossing borders with other genres as evidenced on the slightly 80's Metal merged “Treading On Angels”, and the dramatic, Goth infused “Crossing Of The Spheres” before turning into an extreme, slam-driven BlackMetaler that counts as one of the heavier picks of the set in its accelerated parts. On the other end of the spectrum sits the slow-paced “Neverending Funeral”; the most Doomy track, shaped by deep, gurgling vocals and Helllhammer ish guitars. Witchclan has survived all the trends and stayed true to the genre with its own twist to it. Solid
specifications: cassette-version limited to 100 copies (first 20 on blood red cassette case)
Paul van der Burght
label: Elvester records (CD / vinyl) / Darkness Shade records (cassette)
songs: Descend Into Darkness (intro) / Worms Of Hypocrisy / Treading On Angels / Dawn Of The Serpent Kings / Beyond The Seventh Gate / A New Dawn / Paths ToImmortality / Crossing Of The Spheres / Neverending Funeral / Descend Into Madness (outro) //
web: http://www.witchclan.co.uk/
Witchclan is one of the cornerstones of the British Black Metal scene dating back to 1990 when the band entered the scene as Crypt. The band furthered its career as Curse and Hellgrind and finally settled as Witchclan which broke up in 1995. Witchclan resurrected in 2009, now as a one-man project with Matt Bass handling all instruments and growls. In 2011, the newly formatted Witchclan debuted with the “Misanthrope” album, followed by the more recent “The Dark Binding” (2014). After a dark, ominous intro, Witchclan unleashes its 'Bestial Hell Metal' with the 7+ minute “Worms Of Hypocrisy” that is patterned upon propelling bassdrums and 'wavy' guitars that match up to the 'floating', talk type gasp vocalage of Matt Bass. This is BlackMetal with a certain ambience to it, and backed with a remarkably deep and beefy production for a band of this nature. So, no flat sounding drums here, no trebly guitars, no basement production or shrieky vocalage. Witchclan truly has an original sound in BlackMetal territories and does not shy away from crossing borders with other genres as evidenced on the slightly 80's Metal merged “Treading On Angels”, and the dramatic, Goth infused “Crossing Of The Spheres” before turning into an extreme, slam-driven BlackMetaler that counts as one of the heavier picks of the set in its accelerated parts. On the other end of the spectrum sits the slow-paced “Neverending Funeral”; the most Doomy track, shaped by deep, gurgling vocals and Helllhammer ish guitars. Witchclan has survived all the trends and stayed true to the genre with its own twist to it. Solid
specifications: cassette-version limited to 100 copies (first 20 on blood red cassette case)
Paul van der Burght
METAL RACE records
web: https://metalrace.com/en/
Metal race records is a Russian record label and mailorder that is dedicated to Old-School Metal, Thrash, Death, BlackMetal and bands that play in the old-styles. Roster includes bands such as Death Vomit, Trizna, Rewind, Ravenous, Arbitrator, Mortifier, Grinder and others. Bands that would like to be considered can send in a demo or contact for details @ metalracerecords@gmail.com
web: https://metalrace.com/en/
Metal race records is a Russian record label and mailorder that is dedicated to Old-School Metal, Thrash, Death, BlackMetal and bands that play in the old-styles. Roster includes bands such as Death Vomit, Trizna, Rewind, Ravenous, Arbitrator, Mortifier, Grinder and others. Bands that would like to be considered can send in a demo or contact for details @ metalracerecords@gmail.com
DANGEROUS – CD CHILE 2016 “Metal Heritage”
web: https://www.facebook.com/dangerousthrash/
Chilean outfit doing the old-school Thrash thing and doing it very well! Think a mix of the early Metallica, “Kill 'em All” era, sound (referring to songs such as “Running Amok”, “Thrash On The Streets”), Bay Area Thrash (“Victims Of Hate”), 80's Crossover / HardCore Thrash (titletrack, “Victims Of Hate”) with hints of Destruction and Testament thrown in. Essence of the music lies in the delivery of furious mobility staccato riffage, fast, snare drummed drives and snappy vocal raps with a proper technicality and the odd, Maiden-ish harmonies Textbook performance that goes right back to the 80's. Solid!
specs: limited edition of 500 copies
Paul van der Burght
web: https://www.facebook.com/dangerousthrash/
Chilean outfit doing the old-school Thrash thing and doing it very well! Think a mix of the early Metallica, “Kill 'em All” era, sound (referring to songs such as “Running Amok”, “Thrash On The Streets”), Bay Area Thrash (“Victims Of Hate”), 80's Crossover / HardCore Thrash (titletrack, “Victims Of Hate”) with hints of Destruction and Testament thrown in. Essence of the music lies in the delivery of furious mobility staccato riffage, fast, snare drummed drives and snappy vocal raps with a proper technicality and the odd, Maiden-ish harmonies Textbook performance that goes right back to the 80's. Solid!
specs: limited edition of 500 copies
Paul van der Burght
CHALICE – digital / CD / cassette 2014 “Chalice”
label: Alone records (vinyl) www.alone.grWar On All Fronts Productions (cassette) https://waronallfronts.bandcamp.com/
songs: Witchfynder / Gaudete / Merlin's Lament / Raise Your Chalice //
web: https://www.facebook.com/ChaliceMetal
Chalice is a4-piece unit out of Vermont, USA that came into existence in 2012 and launched their first set of songs onto the scene in 2014. Initially released as a private-press thing, the band got snapped up by Alone records to release it on vinyl and War On All Fronts for the cassette-version. Starting off the set is “Witchfynder”; a catchy and driven upbeat number with NWOBHM styled guitar harmonies and a classic Doom edge /concept a la Witchfinder General, dressed with a slight hint of 70's Psychedelia. Nice, rhythmic beat and harmonized guitars halfway down hinting at Maiden; a thing that comes back in full force down the instrumental interlude of “Raise Your Chalice” a la “The Ides Of March” (“Killers album”) before it develops into a gripping, 80's European influenced U.S PowerMetaler driven by killer riffs, double bass drummage , splashed with some cool guitar duelling, and Epic Metal twist towards the end. When it comes to that, the band expresses to have an interest in Folklore, Magic, encounters with Warlocks. A thing that is peaking in atmospheres on the Epical / Folk-ish sung mid-paced “Gaudete” (that has this light NWOBHM style Doom thing running underneath) and the 11+ “Merlin's Lament” that sounds like a Medieval tale meets 70's Psychedelic Doom. The Vocalage of female shouter Hagthorn is most impressive in delivery, atmospheres and range, going through deep, dark sounding modes, regular toned lines and high pitched yells with the roughed up styles hitting the intensity and 'from the gut' levels big time. Excellent piece of music well worth checking out!
Paul van der Burght
label: Alone records (vinyl) www.alone.grWar On All Fronts Productions (cassette) https://waronallfronts.bandcamp.com/
songs: Witchfynder / Gaudete / Merlin's Lament / Raise Your Chalice //
web: https://www.facebook.com/ChaliceMetal
Chalice is a4-piece unit out of Vermont, USA that came into existence in 2012 and launched their first set of songs onto the scene in 2014. Initially released as a private-press thing, the band got snapped up by Alone records to release it on vinyl and War On All Fronts for the cassette-version. Starting off the set is “Witchfynder”; a catchy and driven upbeat number with NWOBHM styled guitar harmonies and a classic Doom edge /concept a la Witchfinder General, dressed with a slight hint of 70's Psychedelia. Nice, rhythmic beat and harmonized guitars halfway down hinting at Maiden; a thing that comes back in full force down the instrumental interlude of “Raise Your Chalice” a la “The Ides Of March” (“Killers album”) before it develops into a gripping, 80's European influenced U.S PowerMetaler driven by killer riffs, double bass drummage , splashed with some cool guitar duelling, and Epic Metal twist towards the end. When it comes to that, the band expresses to have an interest in Folklore, Magic, encounters with Warlocks. A thing that is peaking in atmospheres on the Epical / Folk-ish sung mid-paced “Gaudete” (that has this light NWOBHM style Doom thing running underneath) and the 11+ “Merlin's Lament” that sounds like a Medieval tale meets 70's Psychedelic Doom. The Vocalage of female shouter Hagthorn is most impressive in delivery, atmospheres and range, going through deep, dark sounding modes, regular toned lines and high pitched yells with the roughed up styles hitting the intensity and 'from the gut' levels big time. Excellent piece of music well worth checking out!
Paul van der Burght
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Photos above left and right: Chalice
Chalice are without a doubt a band with great potential. Reason the more to have a little inside look at what triggers their musical concept, the Vermont Metal scene and new Chalice material. Manic Mosh had a chat with Chalice members John Elwert (drums) and Hagthorn (vocals)
How have the reactions on the E.P been so far and where does the band get most of its feedback from?
John: The reaction has been mostly positive. Some reactions have been almost fanatical in their appreciation of what we have done, which is great to hear. We get the most merchandise orders and feedback from Germany, then France, Greece, Spain, and the USA.
Hagthorn: We have a lot of local support here in Vermont but, it is AMAZING how many people from Europe and even South America have caught on as well. We receive messages and orders from far away places and it astonishes me every time!
Have the misty mountains and rugged nature of Vermont been an influence on the music?
John: I’ll let Hag Thorn take the lead on this one…
Hagthorn: I noticed that people are always trying to find a label for our brand of Metal- for instance Doom, Epic Doom, etc… I don’t think any of this matters. We started calling ourselves “Ancient Metal" because I write songs about timeless themes. Nature is timeless, and when we connect with her we are reminded of where we come from, we are humbled, and everything is brought back into balance. The Chalice is a symbol of the womb, the cauldron of rebirth, and the dark places within us that hold hidden knowledge of past, present, and future. It is the place from which creativity flows. Like the symbol of the chalice and the blade, which represents balance between opposite energies, our music is inspired by the raw power and gentle beauty we see all around us. If Chalice was founded in New York City, I don't know... I can't say whether our music would be different. Perhaps it would, but we are who we are.
There clearly is an Iron Maiden inspiration in the guitar department....
John: Yes, well Iron Maiden is a wonderful and influential band. Cooper (lead guitar) says he feels a Mercyful Fate comparison is more apt, though I see where you’re coming from. We love guitar harmonies, and galloping guitar riffs. Cooper and I have spent 10 years in an Iron Maiden tribute act, while that doesn’t really mean much to CHALICE’s music, it is an interesting little factoid.
Hagthorn: Iron Maiden certainly has influenced our style because we grew up listening to them. A lot of our harmonies are also based on Medieval music and folk as I grew up playing Celtic music. I actually wrote a lot of Merlin’s Lament on the fiddle, and then Cooper took it and transcribed it to guitar.
What is the Vermont Metal scene like and do you guys have ample opportunities to gig locally?
John: Between the city we live in called Montpelier, and the biggest city in Vermont, Burlington, there is a thriving metal community. There are smaller scenes elsewhere in the state too. More big name tours are adding a stop in Vermont, which means we don’t have to travel three hours away to see a band. We gig locally as often as we want; we try and make the gigs we play at home a special event by bringing in out of town bands whom we make alliances with. Castle played with us here not that long ago.
Hagthorn: We also have our sights set on playing out of Vermont… I think our fans here love us but I don’t want to over-saturate the scene here. Montreal has a fucking great metal scene and is really close by. I also hope to do more festivals because they’re fun and you meet a lot of nice folks. Perhaps we will be in Europe by 2017, fingers crossed!
Any new material in the works? And will that be in the same styles?
John: There is already enough material for a full length album, though we’d like to write a few new ones for the album as well. We talked about this as a band recently, and we like that our songs are varied in style without being too genre-hopping. I think the E.P shows the range of music we do and will continue to do. As long as it’s epic and powerful with a touch of ancient darkness, it can be a CHALICE song!
Hagthorn: I’ll just say that, we don’t like to limit ourselves in terms of where our ideas come from, but there is a common thread that ties all of our songs together. Usually we like to throw at least one 'slow song' in there. The full length will DEFINITELY have another 12 minute epic on it; we can’t help ourselves when it comes to lengthy songs. It takes a long time to tell a tale of epic proportions!
How have the reactions on the E.P been so far and where does the band get most of its feedback from?
John: The reaction has been mostly positive. Some reactions have been almost fanatical in their appreciation of what we have done, which is great to hear. We get the most merchandise orders and feedback from Germany, then France, Greece, Spain, and the USA.
Hagthorn: We have a lot of local support here in Vermont but, it is AMAZING how many people from Europe and even South America have caught on as well. We receive messages and orders from far away places and it astonishes me every time!
Have the misty mountains and rugged nature of Vermont been an influence on the music?
John: I’ll let Hag Thorn take the lead on this one…
Hagthorn: I noticed that people are always trying to find a label for our brand of Metal- for instance Doom, Epic Doom, etc… I don’t think any of this matters. We started calling ourselves “Ancient Metal" because I write songs about timeless themes. Nature is timeless, and when we connect with her we are reminded of where we come from, we are humbled, and everything is brought back into balance. The Chalice is a symbol of the womb, the cauldron of rebirth, and the dark places within us that hold hidden knowledge of past, present, and future. It is the place from which creativity flows. Like the symbol of the chalice and the blade, which represents balance between opposite energies, our music is inspired by the raw power and gentle beauty we see all around us. If Chalice was founded in New York City, I don't know... I can't say whether our music would be different. Perhaps it would, but we are who we are.
There clearly is an Iron Maiden inspiration in the guitar department....
John: Yes, well Iron Maiden is a wonderful and influential band. Cooper (lead guitar) says he feels a Mercyful Fate comparison is more apt, though I see where you’re coming from. We love guitar harmonies, and galloping guitar riffs. Cooper and I have spent 10 years in an Iron Maiden tribute act, while that doesn’t really mean much to CHALICE’s music, it is an interesting little factoid.
Hagthorn: Iron Maiden certainly has influenced our style because we grew up listening to them. A lot of our harmonies are also based on Medieval music and folk as I grew up playing Celtic music. I actually wrote a lot of Merlin’s Lament on the fiddle, and then Cooper took it and transcribed it to guitar.
What is the Vermont Metal scene like and do you guys have ample opportunities to gig locally?
John: Between the city we live in called Montpelier, and the biggest city in Vermont, Burlington, there is a thriving metal community. There are smaller scenes elsewhere in the state too. More big name tours are adding a stop in Vermont, which means we don’t have to travel three hours away to see a band. We gig locally as often as we want; we try and make the gigs we play at home a special event by bringing in out of town bands whom we make alliances with. Castle played with us here not that long ago.
Hagthorn: We also have our sights set on playing out of Vermont… I think our fans here love us but I don’t want to over-saturate the scene here. Montreal has a fucking great metal scene and is really close by. I also hope to do more festivals because they’re fun and you meet a lot of nice folks. Perhaps we will be in Europe by 2017, fingers crossed!
Any new material in the works? And will that be in the same styles?
John: There is already enough material for a full length album, though we’d like to write a few new ones for the album as well. We talked about this as a band recently, and we like that our songs are varied in style without being too genre-hopping. I think the E.P shows the range of music we do and will continue to do. As long as it’s epic and powerful with a touch of ancient darkness, it can be a CHALICE song!
Hagthorn: I’ll just say that, we don’t like to limit ourselves in terms of where our ideas come from, but there is a common thread that ties all of our songs together. Usually we like to throw at least one 'slow song' in there. The full length will DEFINITELY have another 12 minute epic on it; we can’t help ourselves when it comes to lengthy songs. It takes a long time to tell a tale of epic proportions!
VOODOO VEGAS – CD EP 2015 “Hypnotise”
label: private
songs: Hypnotise / Tied Up / Round & Round / Killing Joke //
web: https://www.facebook.com/VoodooVegas/?fref=ts
Four-song effort by this Bournemouth (U.K) based 5-piece, following the release of their 2013 “The Rise Of Jimmy Silver” debut. Voodoo Vegas deliver a set of groove-injected, pumping HardRock with a Bluesy backbone (“Round & Round”, “Killing Joke”) and the feel / appearance of 90's HardRock, with hints of Guns & Roses surfacing on the meaty, mid-paced “Hypnotise”, and Skid Row on the upbeat driven, riff-based Rocker “Tied Up”. Fastest offering comes in the shape of the classic, 80's HardRock styled “Round & Round”, rolling on a riff-based, moderately fast paced beat. This EP goes down really well and with only 4 tunes the band packs a good punch. The riffs are chunky, dirty and grooved up, laying a perfect basis for the mid-range power vocals of singer Lawrence Case that are prime-HardRock styled with some higher, raised modes down the refrains. Some cool, tasty guitarwork thrown in there as well, highlighted on “Tied Up”, including sweep picking and all. This is one most entertaining and convincing set of songs that sports all the right features, complimented by the tip top, beefy sounding production of Will Maya (The Answer). Keep this band in mind! Solid.
Paul van der Burght
label: private
songs: Hypnotise / Tied Up / Round & Round / Killing Joke //
web: https://www.facebook.com/VoodooVegas/?fref=ts
Four-song effort by this Bournemouth (U.K) based 5-piece, following the release of their 2013 “The Rise Of Jimmy Silver” debut. Voodoo Vegas deliver a set of groove-injected, pumping HardRock with a Bluesy backbone (“Round & Round”, “Killing Joke”) and the feel / appearance of 90's HardRock, with hints of Guns & Roses surfacing on the meaty, mid-paced “Hypnotise”, and Skid Row on the upbeat driven, riff-based Rocker “Tied Up”. Fastest offering comes in the shape of the classic, 80's HardRock styled “Round & Round”, rolling on a riff-based, moderately fast paced beat. This EP goes down really well and with only 4 tunes the band packs a good punch. The riffs are chunky, dirty and grooved up, laying a perfect basis for the mid-range power vocals of singer Lawrence Case that are prime-HardRock styled with some higher, raised modes down the refrains. Some cool, tasty guitarwork thrown in there as well, highlighted on “Tied Up”, including sweep picking and all. This is one most entertaining and convincing set of songs that sports all the right features, complimented by the tip top, beefy sounding production of Will Maya (The Answer). Keep this band in mind! Solid.
Paul van der Burght
HELLS HEADBANGERS records
web: www.hellsheadbangers.com
Hells Headbangers is an on-line store & record label from the U.S.A that initiated in 2000, and specializes in Black, Death, Thrash, Grind, Doom and Heavy Metal. The Hells Headbangers Mailorder shop features over 10.000 items; from vinyl and CD's to shirts, patches, posters, buttons and more. Hells Headbangers records are purveyors of the true Underground Metal spirit the way it wasdone back in the 80's!
web: www.hellsheadbangers.com
Hells Headbangers is an on-line store & record label from the U.S.A that initiated in 2000, and specializes in Black, Death, Thrash, Grind, Doom and Heavy Metal. The Hells Headbangers Mailorder shop features over 10.000 items; from vinyl and CD's to shirts, patches, posters, buttons and more. Hells Headbangers records are purveyors of the true Underground Metal spirit the way it wasdone back in the 80's!
Razend photo right by Michel Meeuwissen |
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RAZEND – CD 2016 “White Goat II”
label: private
songs: The Mirror / Wingless / Boktor Of Horror / Time / FYAG / The Promise Of Hope / Substantia Nigra // Bonus tracks (“White Goat I” demo): I Know / Pain Of Loss / Stop Pressuring Me / No Cure For Dementia / You And I As One //
web: http://www.razendband.nl/
Razend (meaning furious in Dutch) truly live up to their moniker. The musical history of this female fronted 5-piece unit dates back to Dutch cult Deathsters Acrostichon, and though the band has meanwhile changed its ways to, what they sticker as 'Thrash with a twist', the material still is incredibly intense. This goes to show straight away on opening tune “The Mirror”; a slam driven Thrasher, galloping on a Bay Area-styled drive, and aggression injected with the O.T.T. raised vocalage of Corinne van den Brand (known for being one of the first female grunters in the world). This is exactly how Dutch / Euro Thrash used to sound in the early 90's, and is done all over again on the similar styed “Boktor Of Horror”. Razend nicely balances out the aggression and intensity by slipping in Progressive edged twists and more PowerMetal styled outings and vocalage. This all comes together on the mid-paced PowerMetal minded Thrasher “Wingless” with the vocals of Corinne operating in a perfect PowerMetal pitch with vibrato over a melodic and rough edged regular voice. The vocal abilities of Corinne are spotlighted on follow-up PowerMetaler “Time” before it develops into a Progressive edged Thrasher with the vocals now in raised roughness a la John Connelly (Nuclear Assault). Corinne has put herself way up there with the best female singers in Metal with a vocal palette that is incredibly broad, delivering gruntage and aggressive, talk type vocals alongside a regular modus, vibrato and high pitched excerpts. The last three cuts of this 7-songer go full on the classic Thrash thing with hints of Laaz Rockit on the provocative sounding “FYAG”, the Annihilator-ish, semi-acoustic guitar piece “The Promise Of Hope”, and the galloping, riff-based Bay Area Thrasher “Substantia Nigra” that runs parallel with Exodus in the riff/ drive department. A solid, clockwork Instrumentation runs through the disc with a special credit going out to the incredibly rhythmic drummage. This is one very professional sounding Thrash affair with a strong versatility factor, superb vocalage, and a razor sharp power punch production. Great!
Paul van der Burght
Specs: CD comes with an additional 5 demo-tracks (“White Goat I”/ 2013)
BAD OMEN records
web: http://www.bad-omen-records.com/ http://badomenrecords.bandcamp.com/
Bad Omen records is a 'fiercely independent record label' from the U.K that was founded in 2013 and is dedicated exclusively to Heavy Rock, with a focus on old school values and traditions. This includes genres such as Satanic / Occult HardRock / Metal, traditional Metal, DeathRock, 70's styled Psychedelic DoomRock etc. Bands that would want to send in material for consideration, can do so by sending through a yousendit / wetransfer link or link to your page. Do not attach any music in the email itself. Contact: info@bad-omen-records.com
web: http://www.bad-omen-records.com/ http://badomenrecords.bandcamp.com/
Bad Omen records is a 'fiercely independent record label' from the U.K that was founded in 2013 and is dedicated exclusively to Heavy Rock, with a focus on old school values and traditions. This includes genres such as Satanic / Occult HardRock / Metal, traditional Metal, DeathRock, 70's styled Psychedelic DoomRock etc. Bands that would want to send in material for consideration, can do so by sending through a yousendit / wetransfer link or link to your page. Do not attach any music in the email itself. Contact: info@bad-omen-records.com
BIGFOOT – CD EP 2016 “Stone Soldiers”
label: private
songs: Stone Soldiers / In The Gutter / Run / Just Like Me / Blame It On The Dog //
web: http://www.bigfootband.co.uk/
New release by this Wigan / U.K based five-piece, engaging some riff-oriented and Blues injected 90's style HardRock with an old-school feel and hints of Southern Rock. This is evident right from the opening tunes of the Thunder styled titletrack, rolling on a toe-tapping, moderately paced drive that is riff-based and straight forward type. This routine is repeated on another three tracks; “In The Gutter”, the slightly accelerated, mid-tempo driven “Run”, and the groovster “Blame It On The Dog” with its shout-along refrain. Most versatile offering comes in the shape of the differently styled, and Mainstream-esque “Just Like Me”, phasing melodic-laden HardRock / A.O.R with BluesRock. Strong points throughout the set are the groove-factor, the guitarwork and the rough-edged, mid-range vocalage of singer Anthony Ellis.
Paul van der Burght
label: private
songs: Stone Soldiers / In The Gutter / Run / Just Like Me / Blame It On The Dog //
web: http://www.bigfootband.co.uk/
New release by this Wigan / U.K based five-piece, engaging some riff-oriented and Blues injected 90's style HardRock with an old-school feel and hints of Southern Rock. This is evident right from the opening tunes of the Thunder styled titletrack, rolling on a toe-tapping, moderately paced drive that is riff-based and straight forward type. This routine is repeated on another three tracks; “In The Gutter”, the slightly accelerated, mid-tempo driven “Run”, and the groovster “Blame It On The Dog” with its shout-along refrain. Most versatile offering comes in the shape of the differently styled, and Mainstream-esque “Just Like Me”, phasing melodic-laden HardRock / A.O.R with BluesRock. Strong points throughout the set are the groove-factor, the guitarwork and the rough-edged, mid-range vocalage of singer Anthony Ellis.
Paul van der Burght
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Photo above left and right: Nex
NEX – CD EP 2015 “Totalitarian Leader”
label: private
songs: Nex / Slaves In The Name Of Law /Ten Tables Of Faith //
web: https://www.facebook.com/nexpoland/?fref=ts
First thing to materialize from these Polish Deathsters, engaging some Swedish styled DeathMetal the way it used to be played in the mid 90's. “Totalitarian Leader” is one energetic 'shovel to the skull' affair that brutally pounds its way through a compact 3-song set. It is exactly here that the essence lies, crafting incredibly intense songs rammed into songs durations of 3+ minutes, with opening tune “Next” crossing over to 4+ minutes. Material is entirely played in the 90's tradition, rolling on blast beats, thick, meaty riffage, high-low-and-reversed guitar leads, double-bass drumed chops and deep, gurgling grunts. Songs carry several timing and melody changes, not just fast, tending towards the Progressive side of things. Keep an eye out for this act. Solid
Paul van der Burght
label: private
songs: Nex / Slaves In The Name Of Law /Ten Tables Of Faith //
web: https://www.facebook.com/nexpoland/?fref=ts
First thing to materialize from these Polish Deathsters, engaging some Swedish styled DeathMetal the way it used to be played in the mid 90's. “Totalitarian Leader” is one energetic 'shovel to the skull' affair that brutally pounds its way through a compact 3-song set. It is exactly here that the essence lies, crafting incredibly intense songs rammed into songs durations of 3+ minutes, with opening tune “Next” crossing over to 4+ minutes. Material is entirely played in the 90's tradition, rolling on blast beats, thick, meaty riffage, high-low-and-reversed guitar leads, double-bass drumed chops and deep, gurgling grunts. Songs carry several timing and melody changes, not just fast, tending towards the Progressive side of things. Keep an eye out for this act. Solid
Paul van der Burght
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Above left and right: Model Femke Fatele. Photos by Dirk 'The Pixeleye' Behlau. Hair & Make-Up by Mieke de Vlieger
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Above left and right: Model Femke Fatale. Photos by Dirk 'The Pixeleye' Behlau. Hair & Make-Up by Mieke de Vlieger
FEMKE FATALE – Internationally published Tattoo Model
web: https://www.facebook.com/FemkeFataleFTW/
Internationally acclaimed and published Model Femke Fatale captured in a smokin' hot photo-shoot by the amazing Dirk 'The Pixeleye' Behlau. The ever so cool Femke is a travelling Model and is open to work with photographers, fashion brands and publications worldwide. More info on Femke @ the link above.
More info on the work of Designer, Filmmaker and Photographer Dirk 'The Pixeleye' Behlau @
www.thepixeleye.com www.dirkbehlau.de https://www.facebook.com/thepixeleye/?fref=ts http://printshop.pixeleye.de/
Hair & Make Up by: Mieke De Vlieger https://www.facebook.com/MDVs.MAKEUPandHAIR/
web: https://www.facebook.com/FemkeFataleFTW/
Internationally acclaimed and published Model Femke Fatale captured in a smokin' hot photo-shoot by the amazing Dirk 'The Pixeleye' Behlau. The ever so cool Femke is a travelling Model and is open to work with photographers, fashion brands and publications worldwide. More info on Femke @ the link above.
More info on the work of Designer, Filmmaker and Photographer Dirk 'The Pixeleye' Behlau @
www.thepixeleye.com www.dirkbehlau.de https://www.facebook.com/thepixeleye/?fref=ts http://printshop.pixeleye.de/
Hair & Make Up by: Mieke De Vlieger https://www.facebook.com/MDVs.MAKEUPandHAIR/
SAVIOR FROM ANGER – CD 2016 “Temple Of Judgement”
label: Pure Steel records
songs: Across The Sea / In The Shadows / Bright Darkness / The Eye / Thunderheads / Chosen Ones / The Calling / Starlight / The Eyes Open Wide / Repentence / Temple Of Judgement //
web:http://www.facebook.com/SaviorFromAnger
Right from its opening tunes, American / Italian coalition Savior From Anger get into gear with the fast paced Euro-Headbanger “Across The Sea”, and the power level goes further up with “In The Shadows” tapping into 90's PowerMetal / MetalCore bordering on Thrash. The latter is where Savior From Anger is going next with the up-tempo Thrasher “Thunderheads”, sporting a sound that connects on more than one level with Overkill. There's some galloping PowerMetal modes fuelling tracks such as “Bright Darkness”, “The Calling” and the somewhat Helloween-inspired “The Eyes Open Wide”. It is also here that the vocals adopt a higher pitched key. Basically, the vocals follow where the music is going throughout the set, switching between a roughed-up mid-range voice and a higher vocal style with a slight falsetto finish in the upper ranks. In a way, the vocalage triggers this European / German like finish of certain tracks, “The Eyes Open Wide” in particular. Main drive throughout is a mid-tempo with some accelerated modes and songs (“Across The Sea”, “The Eyes Open Wide”. At times, the riffage tend to be quite heavy for the genre, tipping over to Thrash on “In The Shadows”. Some nice guitar work is splattered down the concept and shines on “Across The Sea” and the titletrack. So, it all works rather well on this album, minus the generic balladry that is “Starlight” coupling A.O.R / Mainstream Rock; a thing that simply does not gel with the rest of the repertoire. Other than that, “Temple Of Judgment” is a more than O.K album.
Paul van der Burght
label: Pure Steel records
songs: Across The Sea / In The Shadows / Bright Darkness / The Eye / Thunderheads / Chosen Ones / The Calling / Starlight / The Eyes Open Wide / Repentence / Temple Of Judgement //
web:http://www.facebook.com/SaviorFromAnger
Right from its opening tunes, American / Italian coalition Savior From Anger get into gear with the fast paced Euro-Headbanger “Across The Sea”, and the power level goes further up with “In The Shadows” tapping into 90's PowerMetal / MetalCore bordering on Thrash. The latter is where Savior From Anger is going next with the up-tempo Thrasher “Thunderheads”, sporting a sound that connects on more than one level with Overkill. There's some galloping PowerMetal modes fuelling tracks such as “Bright Darkness”, “The Calling” and the somewhat Helloween-inspired “The Eyes Open Wide”. It is also here that the vocals adopt a higher pitched key. Basically, the vocals follow where the music is going throughout the set, switching between a roughed-up mid-range voice and a higher vocal style with a slight falsetto finish in the upper ranks. In a way, the vocalage triggers this European / German like finish of certain tracks, “The Eyes Open Wide” in particular. Main drive throughout is a mid-tempo with some accelerated modes and songs (“Across The Sea”, “The Eyes Open Wide”. At times, the riffage tend to be quite heavy for the genre, tipping over to Thrash on “In The Shadows”. Some nice guitar work is splattered down the concept and shines on “Across The Sea” and the titletrack. So, it all works rather well on this album, minus the generic balladry that is “Starlight” coupling A.O.R / Mainstream Rock; a thing that simply does not gel with the rest of the repertoire. Other than that, “Temple Of Judgment” is a more than O.K album.
Paul van der Burght
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Above left: Chastain 1986 line-up. Above right: Chastain "We Bleed Metal" 2015 line-up"
With the 2013 “Surrender To No One” and their latest outlet, “We Bleed Metal” (2015), U.S. PowerMetal pioneers Chastain are back in the spotlight with the original backbone of the band, singer Leather Leone and guitarist David T. Chastain spilling the Metal blood that runs through their veins. Manic Mosh had a chat with hall of fame powerhouse singer Leather, and one of the hardest working individuals in Metal, guitarist David T. Chastain about their new album, the past, the present and the origin of the band....
Bridging a 9 year gap between the 2004 “In An Outrage” album and the 2013 released “Surrender To No One”, where have you guys been musically? Was there a time-out from the scene or have you been involved in other projects / bands?
Leather: Our time out from the scene was just that. No big decision or meeting was held. It was an amicable, almost unspoken telepathic decision we had to take a break. The shows weren't getting any larger. My idea of touring and Chastain's were different. I went home after "For Those Who Dare" with the mindset of taking a few months off and then getting into a more aggressive type Metal band. I had met with labels and management and I found a strong lack of respect and want for me as Leather. Their plan was of no interest to me. So the short of it, I got into living in another direction.
David T. Chastain: As you can see from the discography below I was involved in numerous projects. Quite a few of them where compilation releases. Plus my music was used on 100's of T.V shows.
2013 - DAVID T. CHASTAIN "That Was Then Again"
2013 - DAVID T. CHASTAIN "Next Planet Please....Revisited"
2013 - VARIOUS ARTISTS "Guitarmageddon 13"
2013 - ZANISTER "Metal Treasures"
2013 - CJSS "Metal Treasures"
2013 - GEORGIA BLUES DAWGS "Basically Blue"
2012 - DAVID T. CHASTAIN "Progressive Metal Axiom"
2012 - DAVID T. CHASTAIN "Fusion Delusion"
2012 - DAVID T. CHASTAIN "Neoclassical Compositions No. 1"
2012 - CJSS "The 7 Hills Demo"
2012 - CHASTAIN "Metal In Your Face"
2012 - CHASTAIN "Wicked Riffs 8790"
2012 - SOUTHERN GENTLEMEN "My Favorite Disaster: The Heavy One"
2012 - (As producer and co-songwriter) KENZINER "The Absolute Best Of"
2011 - "Leviathan Records- 25 Years of Guitar Instrumental Madness"
2011 - SOUTHERN GENTLEMEN "The Early Years"
2011 - SOUTHERN GENTLEMEN "Playing For Pennies"
2011 - SOUTHERN GENTLEMEN "My Favorite Disaster"
2011 - DAVID T. CHASTAIN "Civilized Warfare"
2011 - GEORGIA BLUES DAWGS "Blues Rock City Jam"
2010 - CINCINNATI IMPROVISATIONAL GROUP "Freeform Free For All" (re-issue)
2010 - (As the producer, co-songwriter and bassist) Gus G "Guitar Master 2010 Remaster"
2010 - CHASTAIN "The Reign Of Leather"
2009 - (As co-songwriter) FIREWIND from the DVD/CD "Live Premonition."
2009 - SOUTHERN GENTLEMEN "Instrumentalized"
2009 - DAVID T. CHASTAIN "Heavy Excursions"
2008 - CHASTAIN "Ruler Of The Wasteland" re-issue
2008 - CHASTAIN "Mystery Of Illusion" re-issue
2008 - (As songwriter) HAMMERFALL "Angel Of Mercy" from the CD "Masterpieces."
2008 - SOUTHERN GENTLEMEN "Valley Of Fire"
2008 - (As co-songwriter) FIREWIND "Life Foreclosed" from the CD "The Premonition."
2007 - DAVID T. CHASTAIN "Countdown To Infinity"
2006 - DAVID T. CHASTAIN "Prisoner Of Time"
2006 - CJSS "2-4-1" re-issue
2006 - SOUTHERN GENTLEMEN "Third Time Is The Charm"
2005 - (As producer and songwriter) KINRICK "Sense Your Darkness"
Could you have ever imagined that the old-school Metal / PowerMetal thing would make such a drastic come-back with a new generation of fans and bands totally into this!
Leather: Yes , I could. Most things in life complete a circle. It was only a matter of time. I enjoy meeting the youngsters that know of that time and put their spin on it. Metal will always remain!!
David T. Chastain: To be completely honest I really don't pay much attention to what is popular or not popular. When I see a Metal radio playlist I am lucky to recognize 5 of the Top 20 bands. However if what you say is true then I am very happy to hear it. I know from Facebook that there are a lot of 20 and 30 year old fans so obviously they are hearing the old stuff from somewhere.
Placing the 80's next to the now, which is the era that works / worked best in terms of recognition for the band?
Leather: I can't really answer that. Considering we haven't really been affiliated with a large label with the exception of Roadracer which is now Roadrunner.... We have always been a indie type band. But I would probably say when MTV was playing "For Those Who Dare" in a regular rotation.....But we have always been blessed to have a cult following since "Mystery Of Illusion"
David T. Chastain: I definitely prefer the music business model of the late 80s. Back in those days there were maybe 100 Metal albums released a year. Today I am sure there are that many a month. So there are so many more bands vying for the attention of the fans and press. In the U.S, there were a lot more Metal fans back in those days. Back then the formats were albums, cassettes and CD's. Today it is streaming and downloads. As I explained to someone else recently: With CD's you make dollars, with downloads you make pennies and with streaming you make fractions of pennies.... so it is very difficult in today's world to make a living selling pre-recorded music.
The new album, “We Bleed Metal” has the signature 80's Chastain sound in there alright but does show a more rough edged, say 90's Metal approach with only little of the melodic thing and less guitar flash of the old days; was there a pre-set idea of the concept or did it just turn out to sound this way as songs were written and recorded?
Leather: We never sit around and say we need to create a certain sound or song for any reason. Chastain and I create our way, as we did in the beginning . I don't believe we could contrive anything other than an organic thought. We have always been on the same page musically. As far as it being more rough edged, that has been a strong decision of mine vocally. I thought the last Chastain records vocally sounded too Arena Rock. Too clean. But as in life, we change and express ourselves a bit different with experience.
David T. Chastain: I think drummer Stian Kristoffersen really helps bring the CHASTAIN sound into the modern age. I still write tons of music everyday so whatever happens to be in my "hot box" at the time of a recording is what the band records. I think the 2 new CD's hold up well against the old Leather stuff.
How has the feedback of the new album been so far?
Leather: The response has been very positive !! I thank all of you for that.
David T. Chastain: Very well as far as I know. Of course I doubt writers send me their negative reviews... but everything I see is very positive. Some reviewers really get what we do and others maybe not so much. The hardcore fans were very happy to see new music from Leather and myself so it would have been hard to disappoint them.
I remember listening to the Chastain demo tape which was all over tape trading lists and favoured at a large scale back in the early 80's.The '85 debut LP “Mystery Of Illusion” furthered the success of the band, particularly over here in Europe despite its hefty import prices. What do you think was the key element that triggered such response? I dare to say that the sound portrayed there, and on follow-up album “Ruler Of The Wasteland” gave a whole new swing to U.S Metal and quite possibly count as one of the very first American, Melodic / Epic PowerMetal styled albums....
Leather: Again, I can't answer that. Chastain songs had a different sound coming from the USA back then for sure. His writing had more of a Euro feel to me which I found interesting vocally from the genesis. In the realm of all that Shrapnel guitar ism, Chastain had an unmatchable quality. And maybe the female front, at that time was such a big deal! It was a fucking cool, medieval , magical sound!!! I would love to re record "Mystery Of Illusion" now. I could sing the hell out of today!!!
David T. Chastain: I think you got it right. I believe Chastain was one of the first U.S Metal bands that actually sounded like we were from Europe. Most U.S bands were either very commercial like Ratt or Thrashy like Metallica.
Getting back in time, when did you and Leather meet and how did that evolve into a musical team in Chastain. It is apparent that this musical cohesion worked well and still does spanning well over 3 decades...
Leather: I met David T Chastain through Mike Varney (Shrapnel records). I had become friends with Mike through my previous band "Rude Girl". We became good friends. Chastain sent a demo of "Black Knight", "Mystery Of Illusion" and "Winds Of Change" I recorded them on a 4 track (dating myself) sent them back...within 3 months I was recording "Mystery Of Illusion" It was an incredible training ground for me. And as you know, it worked out O.K!!
David T. Chastain: Producer Mike Varney and I were looking for musicians for Chastain and I let it be known to him that I liked female vocalists. He knew of Leather and we did that demo you mentioned and everyone could tell there was a magic between Leather and myself. When we got back together in 2013 to record “Surrender To No One” it was as if we had only taken a few months off... not over 20 years!
Anything else you'd like to add?
Leather: Thank you to all of you for your belief and support. Stay tuned to my page for upcoming shows. Love and Dio
David T. Chastain: For the fans, check out the 2 new CD's; “Surrender To No One” and “We Bleed Metal”; I don't think you will be disappointed.
Links: : www.webleedmetal.com www.chastainmetal.com http://www.leviathanrecords.com www.leatherleone.com
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Above left: David T. Chastain. Above right: Leather Leone. Leather Leone pic by KuboMetal Fotografia Underground
BACKSLASH – CD / LP 2015 “Empire Rising”
label: Iron Shield records www.ironshieldrecords.de/
songs: Empire Rising / Lucifer's Reign / Stellar Master / Edge Of The World / Rock 'n' Roll / Steel Stallions / Wild And Free / Made Of Steel / Don't Touch Me / Bleed Out (LP bonus) //
web: www.blackslash-band.de
Fourth release by this German outfit, adopting a sound that has 80's Metal written all over. It might be the melodic element that runs underneath, but somehow Backslash sound quite Scandinavian mould, hinting at early Europe and Axid, sauced with plenty of guitar harmonies, twin leads and the grooves of HardRock. The set on “Empire Rising” is predominantly upbeat to moderately fast and fast paced , including a good lot of semi Headbangers (“Lucifer's Reign”, “Rock 'n' Roll”, “Steel Stallions”), and galloping tunes such as the Epic styled “Edge Of The World” (that accelerateds halfway down) and the rhythm riff driven “Don't Touch Me”. The vocals of Clemens Haas suit the music and compliment the melodic appearance, delivering a warm sounding mid-range voice that shines on the balladry of “Made Of Steel”. Material sticks together very well, and has this pleasant, catchy vibe that is triggered by the catchy, instant-access format of the set as a whole. In all, a great retro-oriented album that comes with all the trimmings.
Paul van der Burght
label: Iron Shield records www.ironshieldrecords.de/
songs: Empire Rising / Lucifer's Reign / Stellar Master / Edge Of The World / Rock 'n' Roll / Steel Stallions / Wild And Free / Made Of Steel / Don't Touch Me / Bleed Out (LP bonus) //
web: www.blackslash-band.de
Fourth release by this German outfit, adopting a sound that has 80's Metal written all over. It might be the melodic element that runs underneath, but somehow Backslash sound quite Scandinavian mould, hinting at early Europe and Axid, sauced with plenty of guitar harmonies, twin leads and the grooves of HardRock. The set on “Empire Rising” is predominantly upbeat to moderately fast and fast paced , including a good lot of semi Headbangers (“Lucifer's Reign”, “Rock 'n' Roll”, “Steel Stallions”), and galloping tunes such as the Epic styled “Edge Of The World” (that accelerateds halfway down) and the rhythm riff driven “Don't Touch Me”. The vocals of Clemens Haas suit the music and compliment the melodic appearance, delivering a warm sounding mid-range voice that shines on the balladry of “Made Of Steel”. Material sticks together very well, and has this pleasant, catchy vibe that is triggered by the catchy, instant-access format of the set as a whole. In all, a great retro-oriented album that comes with all the trimmings.
Paul van der Burght
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SIX REASONS TO KILL – 7”EP 2016 “Rote Erde”
label: Bastardized Recordings http://www.bastardized.net/
songs: Rote Erde / Of Fire (Dismember cover)
web: www.facebook.com/SIXREASONSTOKILL
Newest release by this German act that has been belting out a whole catalogue of material ever since their '00 full-lenghter “Kiss The Demon”.After a few line-up changes, Six Reasons To Kill are back in full force with an intensified sound, stickered by the band as 'Darkside Metal'. Basically, the band has taken the MetalCore sound towards the Swedish DeathMetal thing without sounding trendy or mellow-wanna-be-heavy. “Rote Erde” - which is growled in German language – is one incredibly intense, riff-based affair with a lot of thrust, meaty guitar hooks and over-the-top vocals that are screamy in a deep tone, much in the 90's DeathThrash styles. There's a lot happening structural wise, going through various melody changes underneath its fairly mid-paced dominated drive. A lot of its diversity flow is triggered by the drummage which is the most versatile factor instrumental wise. This includes an incredibly tight rhythm sectioning, double-bass drummed chops, fillers, and this Scandinavian like synchronization with the rifffage. The production on this 2-songer is excellent with a keen sense for proportion and bottom end punch, as evidenced on its titletrack. The driven, upbeat “Of Fire” is a Dismember cover and moreover compliments the hang towards the Scandinavian DeathMetal sound with the MetalCore thing running underneath. This EP is one energetic and entertaining affair that captures the best of both genres, backed with an exellent power-punch production. Top stuff!
Paul van der Burght
label: Bastardized Recordings http://www.bastardized.net/
songs: Rote Erde / Of Fire (Dismember cover)
web: www.facebook.com/SIXREASONSTOKILL
Newest release by this German act that has been belting out a whole catalogue of material ever since their '00 full-lenghter “Kiss The Demon”.After a few line-up changes, Six Reasons To Kill are back in full force with an intensified sound, stickered by the band as 'Darkside Metal'. Basically, the band has taken the MetalCore sound towards the Swedish DeathMetal thing without sounding trendy or mellow-wanna-be-heavy. “Rote Erde” - which is growled in German language – is one incredibly intense, riff-based affair with a lot of thrust, meaty guitar hooks and over-the-top vocals that are screamy in a deep tone, much in the 90's DeathThrash styles. There's a lot happening structural wise, going through various melody changes underneath its fairly mid-paced dominated drive. A lot of its diversity flow is triggered by the drummage which is the most versatile factor instrumental wise. This includes an incredibly tight rhythm sectioning, double-bass drummed chops, fillers, and this Scandinavian like synchronization with the rifffage. The production on this 2-songer is excellent with a keen sense for proportion and bottom end punch, as evidenced on its titletrack. The driven, upbeat “Of Fire” is a Dismember cover and moreover compliments the hang towards the Scandinavian DeathMetal sound with the MetalCore thing running underneath. This EP is one energetic and entertaining affair that captures the best of both genres, backed with an exellent power-punch production. Top stuff!
Paul van der Burght
KÖRSBÄRSFETTERA – LP / digital 2016 “Inuti Finns Utopi”
label: Skulls And Flames recordings / Cramada
https://soundcloud.com/skulls-and-flames-records https://www.facebook.com/Cramada-191802080848186/
songs: Fyra Veckor / Skövde Stad / Kvinnor Upp Till Kamp / Sverige Rasar / Sluta Döma / Vardagen / Helgen Är Här / Utopi / Fin På Ytan /Änglar Och Demoner / Känslokondomen / Efterfestdrottningen //
web: https://www.facebook.com/K%C3%B6rsb%C3%A4rsfettera-24366122833/?fref=ts
All female outfit doing some cheerful, old-school Punk on this 12-songer. With that, songs are mostly up-tempo to moderately fast driven, bar-riffed and easy going with a toe-tapping vibe, sing along chants, and the occasional, Runaways like backing shouts thrown in there. A bit on the 'rawer' side of things is the slightly G.B.H. / Plasmatics tinged”Utopi” and on the other end of the spectrum are the slower offerings that are the Ramones-esque “Känslokondomen” and “Efterfestdrottningen” directing more towards the New York Post Punk Rock style. Whole thing is sung in a native, Swedish tongue which may require a few moments to get accustomed to. Then again, with this sort of music, it is the attitude and vibe that counts.
Paul van der Burght
label: Skulls And Flames recordings / Cramada
https://soundcloud.com/skulls-and-flames-records https://www.facebook.com/Cramada-191802080848186/
songs: Fyra Veckor / Skövde Stad / Kvinnor Upp Till Kamp / Sverige Rasar / Sluta Döma / Vardagen / Helgen Är Här / Utopi / Fin På Ytan /Änglar Och Demoner / Känslokondomen / Efterfestdrottningen //
web: https://www.facebook.com/K%C3%B6rsb%C3%A4rsfettera-24366122833/?fref=ts
All female outfit doing some cheerful, old-school Punk on this 12-songer. With that, songs are mostly up-tempo to moderately fast driven, bar-riffed and easy going with a toe-tapping vibe, sing along chants, and the occasional, Runaways like backing shouts thrown in there. A bit on the 'rawer' side of things is the slightly G.B.H. / Plasmatics tinged”Utopi” and on the other end of the spectrum are the slower offerings that are the Ramones-esque “Känslokondomen” and “Efterfestdrottningen” directing more towards the New York Post Punk Rock style. Whole thing is sung in a native, Swedish tongue which may require a few moments to get accustomed to. Then again, with this sort of music, it is the attitude and vibe that counts.
Paul van der Burght
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Italian Alternative Model VALENTINA ROCKETQUEEN wearing Manic Mosh tee. Photo by La Minu / Minu In Wonderland.
More of the great photographic work by La Minu @ https://www.facebook.com/MinuInWonderland
More on Valentina Rocketqueen @ https://www.facebook.com/v.rocketqueen?fref=ts
More of the great photographic work by La Minu @ https://www.facebook.com/MinuInWonderland
More on Valentina Rocketqueen @ https://www.facebook.com/v.rocketqueen?fref=ts
Q5 – CD 2016 “New World Order”
label: Frontiers records
songs: We Came Here To Rock / One Night In Hellas / The Right Way / New World Order / Tear Up The Night / Halfway To Hell / A Prisoner Of Mind / Unrequited (A woman Of Darkness And Steel ) / Just One Kiss / Fear Is The Killer / Land Of The Setting Sun / Warrior's Song / Mach Opus 206 (instrumental) / Get Next To You //
web: https://www.facebook.com/q5official/
This is the very same band that released the iconic '84 “Steal The Light” LP. Q5's career airlifted shortly after but didn't last. Decades later, and via a new band format called Nightshade, the interest in Q5 was resurrected. More of this came to fruition with the release of the 2016 “New World Order” full-lengther, a collection of songs played in the Q5 tradition. As such, the album sounds like a throwback to the early 80's in a variety of appearances. This includes (toe tapping) Mainstream HardRock (“We Came Here To Rock”), Billboard Rock (“Just One Kiss”), Metal (the fast Euro-Headbanger “Fear Is The Killer”), AC /DC - meets - Accept esque HardRock (“The Right Way”), melodic Metal (“New World Order”, “Halfway To Hell”), (melodic) HardRock (the Euro-style semi-Headbangers “One Night In Hellas” and “Tear Up The Night”), a ballad and an instrumental (“Mach Opus”). One may call the standards of the genre/s cliches, and this album is full of those, but it is all played so very well and recognizable in a most enjoyable way that it actually upgrades the album! There's a good balance between balladry (minimal), mod / mid-tempo tracks (majority of tunes), faster moments (3 of those), and a slow, dramatic pounder in the shape of the assumingly “Stargazer” / Rainbow inspired “Land Of The Setting Sun”, Music is pretty much straight-forward type but played to perfection and dressed with some nice twists / instrumental hooks. Overall, Q5 sports the European HardRock / Metal sound with a shade of US Billboard Mainstream; think a mix of early Savatage, Accept and Y&T. Vocalage of original singer Jonathan Scott K is functional operating in the mid-range without any frills or shrieks. Some really tasty guitarwork, highlighted on “One Night In Hellas”.really tasty guitarwork. Nice, beefy production. Solid.
Paul van der Burght
label: Frontiers records
songs: We Came Here To Rock / One Night In Hellas / The Right Way / New World Order / Tear Up The Night / Halfway To Hell / A Prisoner Of Mind / Unrequited (A woman Of Darkness And Steel ) / Just One Kiss / Fear Is The Killer / Land Of The Setting Sun / Warrior's Song / Mach Opus 206 (instrumental) / Get Next To You //
web: https://www.facebook.com/q5official/
This is the very same band that released the iconic '84 “Steal The Light” LP. Q5's career airlifted shortly after but didn't last. Decades later, and via a new band format called Nightshade, the interest in Q5 was resurrected. More of this came to fruition with the release of the 2016 “New World Order” full-lengther, a collection of songs played in the Q5 tradition. As such, the album sounds like a throwback to the early 80's in a variety of appearances. This includes (toe tapping) Mainstream HardRock (“We Came Here To Rock”), Billboard Rock (“Just One Kiss”), Metal (the fast Euro-Headbanger “Fear Is The Killer”), AC /DC - meets - Accept esque HardRock (“The Right Way”), melodic Metal (“New World Order”, “Halfway To Hell”), (melodic) HardRock (the Euro-style semi-Headbangers “One Night In Hellas” and “Tear Up The Night”), a ballad and an instrumental (“Mach Opus”). One may call the standards of the genre/s cliches, and this album is full of those, but it is all played so very well and recognizable in a most enjoyable way that it actually upgrades the album! There's a good balance between balladry (minimal), mod / mid-tempo tracks (majority of tunes), faster moments (3 of those), and a slow, dramatic pounder in the shape of the assumingly “Stargazer” / Rainbow inspired “Land Of The Setting Sun”, Music is pretty much straight-forward type but played to perfection and dressed with some nice twists / instrumental hooks. Overall, Q5 sports the European HardRock / Metal sound with a shade of US Billboard Mainstream; think a mix of early Savatage, Accept and Y&T. Vocalage of original singer Jonathan Scott K is functional operating in the mid-range without any frills or shrieks. Some really tasty guitarwork, highlighted on “One Night In Hellas”.really tasty guitarwork. Nice, beefy production. Solid.
Paul van der Burght
RAUM KINGDOM – CD EP 2014 “Raum Kingdom”
label: private
songs: Wounds / Barren Objects / Cross Reference / These Open Arms / This Sullen Hope //
web: https://www.facebook.com/Raum.Kingdom.ie
First outlet by this Irish 4-piece unit that tag their thing as 'Post Metal / Doom / Sludge'. A pretty accurate description with the understanding that Raum Kingdom are actually more Rock than Metal. Then again, it is the vocalage of David Lee that push towards Nu Metal in the scream, modus, whilst the whispers and level-tone excerpts accommodate the more atmospheric moments that surround the material. Even though there are musical connections with Tool (as evidenced on the cold sphered “Wounds”, and the 90's Alternative edged “This Sullen Hope”), Raum Kingdom managed to differentiate, creating a sound with familiar elements without sounding ordinary. Most of this can be addressed to the ambient, almost hypnotic feel triggered by a variety of things such as the echoed guitar picking, the distant whispering, and the constant repetition of themes including a large chunk of interlude-like instrumental passages. This then also gives the material this Progressive swing, not in technicality but in atmosphere, incorporating minor tones and moods. It goes without saying that the whole thing on display is slow in tempo and long in duration, peaking on the 6+ minute “Barren Objects” and the 9+ minute “This Sullen Hope”.
Paul van der Burght
label: private
songs: Wounds / Barren Objects / Cross Reference / These Open Arms / This Sullen Hope //
web: https://www.facebook.com/Raum.Kingdom.ie
First outlet by this Irish 4-piece unit that tag their thing as 'Post Metal / Doom / Sludge'. A pretty accurate description with the understanding that Raum Kingdom are actually more Rock than Metal. Then again, it is the vocalage of David Lee that push towards Nu Metal in the scream, modus, whilst the whispers and level-tone excerpts accommodate the more atmospheric moments that surround the material. Even though there are musical connections with Tool (as evidenced on the cold sphered “Wounds”, and the 90's Alternative edged “This Sullen Hope”), Raum Kingdom managed to differentiate, creating a sound with familiar elements without sounding ordinary. Most of this can be addressed to the ambient, almost hypnotic feel triggered by a variety of things such as the echoed guitar picking, the distant whispering, and the constant repetition of themes including a large chunk of interlude-like instrumental passages. This then also gives the material this Progressive swing, not in technicality but in atmosphere, incorporating minor tones and moods. It goes without saying that the whole thing on display is slow in tempo and long in duration, peaking on the 6+ minute “Barren Objects” and the 9+ minute “This Sullen Hope”.
Paul van der Burght
NATIVE DAUGHTERS – CD 2016 “Master Manipulator”
web: https://www.facebook.com/nativedaughtersband/
http://www.nativedaughters.bandcamp.com/
Interesting sound produced by this Colorado / U.S.A based act, phasing Ambient atmospheres and long instrumental passages with technical, true Progressive minded swings and heavy – yet balanced riff sections. There's no vocals on this one which accents the moods and darkened ambience, alternated with lighter, semi-acoustic laden and lightly Folk inspired, mystical partitions. Album sticks together very well without making it sound complex. A good cohesion of tranquil parts, dark and deep (Thrash / MetalCore like) riffage and more in-depth programming with a minor, almost hypnotic mood running underneath. Another interesting thing about this band is that is has two drummers in there!
Paul van der Burght
web: https://www.facebook.com/nativedaughtersband/
http://www.nativedaughters.bandcamp.com/
Interesting sound produced by this Colorado / U.S.A based act, phasing Ambient atmospheres and long instrumental passages with technical, true Progressive minded swings and heavy – yet balanced riff sections. There's no vocals on this one which accents the moods and darkened ambience, alternated with lighter, semi-acoustic laden and lightly Folk inspired, mystical partitions. Album sticks together very well without making it sound complex. A good cohesion of tranquil parts, dark and deep (Thrash / MetalCore like) riffage and more in-depth programming with a minor, almost hypnotic mood running underneath. Another interesting thing about this band is that is has two drummers in there!
Paul van der Burght
KROSSFIRE – CD 2016 “Shades Of Darkness”
label: Pure Steel records
songs: The Ninth / The Last Ride / King Will Come / Destiny's Calling / One More Time / Farewell / Fall From Grace / Annabelle / Glory To Heavens / Like A Shadow / Rule The Dark / Heaven Halls //
web: www.krossfirebg.com
Newest release by this Bulgarian 5-piece unit merging the likes of U.S Progressive PowerMetal a la Dream Theater / Queensryche with the European sounds and Gothic / Epic atmospheres. These moods are mainly given value by the synths usage and chants as clearly witnessed on the intro “The Ninth” and follow-up tune “The Last Ride” with its orchestral / opera like modes and propelling double-bassdrum / riff synchronisation that give it this European (Helloween-ish) swing. The guitars are mixed in quite prominently and are rather heavy (even Thrash like down some partitions of “King Will Come”) in contrast to the melodic-laden vocalage. There's a lot of synths usage throughout the album that also trigger a symphonic undertone to the music as a whole. Some nice operatic female chants from guest singer Violeta Kusheva at the beginning tunes of the all-out Progressive “Destiny's Calling”, paving the way for the Helloween-esque lead vocals of frontman Dimo Petkov to further the song. This would have made a great pairing in duet format. More vocalage of Violeta down the slightly Mainstream Gothic like “One More Time”; one of the 'lighter' outings on the disc, along with the balladry of “Farewell”. On the other end of the spectrum is the chunky PowerMetaler “Rule The Dark”, bobbing on a double-bass drummed drive and meaty riffage, all enrolled in a bombastic setting with some cutting riffage thrown in there. In all, an adequate album; a bit on the clean, textbook side of things throughout, but that answers to the Progressive element that is high up there..
Paul van der Burght
label: Pure Steel records
songs: The Ninth / The Last Ride / King Will Come / Destiny's Calling / One More Time / Farewell / Fall From Grace / Annabelle / Glory To Heavens / Like A Shadow / Rule The Dark / Heaven Halls //
web: www.krossfirebg.com
Newest release by this Bulgarian 5-piece unit merging the likes of U.S Progressive PowerMetal a la Dream Theater / Queensryche with the European sounds and Gothic / Epic atmospheres. These moods are mainly given value by the synths usage and chants as clearly witnessed on the intro “The Ninth” and follow-up tune “The Last Ride” with its orchestral / opera like modes and propelling double-bassdrum / riff synchronisation that give it this European (Helloween-ish) swing. The guitars are mixed in quite prominently and are rather heavy (even Thrash like down some partitions of “King Will Come”) in contrast to the melodic-laden vocalage. There's a lot of synths usage throughout the album that also trigger a symphonic undertone to the music as a whole. Some nice operatic female chants from guest singer Violeta Kusheva at the beginning tunes of the all-out Progressive “Destiny's Calling”, paving the way for the Helloween-esque lead vocals of frontman Dimo Petkov to further the song. This would have made a great pairing in duet format. More vocalage of Violeta down the slightly Mainstream Gothic like “One More Time”; one of the 'lighter' outings on the disc, along with the balladry of “Farewell”. On the other end of the spectrum is the chunky PowerMetaler “Rule The Dark”, bobbing on a double-bass drummed drive and meaty riffage, all enrolled in a bombastic setting with some cutting riffage thrown in there. In all, an adequate album; a bit on the clean, textbook side of things throughout, but that answers to the Progressive element that is high up there..
Paul van der Burght
VHOD – CD 2015 “Dreamcleaver”
songs: Still The Blood / The Spectre's Behest / On The Tree Of Woe / So Pass Away – Locus Mortis / Dragon Sand / Reap The Harvest / Now Underground / Flesh For Our Swords / Obsequies / Dreamcleaver //
label: Inverse records www.inverse.fi
web: http://www.vhod.ca/
This is one seriously interesting commodity stickered as 'Experimental Death Metal'. For starters, this is a one man project, with American multi-instrumentalist Chris Shaver handling all instruments, vocal duties and composing the songs. Secondly, this is one very clever and unusual mix of styles and interpretations that does the experimental tag justice. Concept however, is far too diverse to pass if off as DeathMetal, as it collects sounds and elements from 90's styled (Swedish) DeathMetal, melodic BlackMetal, HardRock, Doom, Alternative Rock and Metalcore!! Putting it all together, it works really well, and though there is quite a lot going on, it is surprisingly easy on the ear. Music is largely guitar oriented and has this full sounding appearance that is dressed with deep, gurgling grunts and 'meaty' crunch riffs. The tempo varies throughout, and goes from slow (“Dragon Sand”), moderately & mid-paced (“On The Tree Of Woe, “So Pass Away”) to fast & snare-drum driven (“Reap The Harvest”) with some blast beats thrown in down the Nu-Metalcore-meets-90's DeathMetaler “The Spectre's Behest”. Best picks of the album are the Doom /. HardRock phased “So Pass Away”, the fast, Black / DeathMetal mixed “Reap The Harvest”, and the completely different styled “Now Underground” that addresses to classic Alternative Rock-meets-Industrial Goth Rock. One may doubt the essence of a track like this but whatever it is, it does not bring down the overall quality of this album! Solid.
Paul van der Burght
songs: Still The Blood / The Spectre's Behest / On The Tree Of Woe / So Pass Away – Locus Mortis / Dragon Sand / Reap The Harvest / Now Underground / Flesh For Our Swords / Obsequies / Dreamcleaver //
label: Inverse records www.inverse.fi
web: http://www.vhod.ca/
This is one seriously interesting commodity stickered as 'Experimental Death Metal'. For starters, this is a one man project, with American multi-instrumentalist Chris Shaver handling all instruments, vocal duties and composing the songs. Secondly, this is one very clever and unusual mix of styles and interpretations that does the experimental tag justice. Concept however, is far too diverse to pass if off as DeathMetal, as it collects sounds and elements from 90's styled (Swedish) DeathMetal, melodic BlackMetal, HardRock, Doom, Alternative Rock and Metalcore!! Putting it all together, it works really well, and though there is quite a lot going on, it is surprisingly easy on the ear. Music is largely guitar oriented and has this full sounding appearance that is dressed with deep, gurgling grunts and 'meaty' crunch riffs. The tempo varies throughout, and goes from slow (“Dragon Sand”), moderately & mid-paced (“On The Tree Of Woe, “So Pass Away”) to fast & snare-drum driven (“Reap The Harvest”) with some blast beats thrown in down the Nu-Metalcore-meets-90's DeathMetaler “The Spectre's Behest”. Best picks of the album are the Doom /. HardRock phased “So Pass Away”, the fast, Black / DeathMetal mixed “Reap The Harvest”, and the completely different styled “Now Underground” that addresses to classic Alternative Rock-meets-Industrial Goth Rock. One may doubt the essence of a track like this but whatever it is, it does not bring down the overall quality of this album! Solid.
Paul van der Burght
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PRAETERLIMINA 'zine
web: www.praeterlimina.co.uk
https://www.facebook.com/Project-Praeterlimina-354749097983377/?fref=ts
"Praeterlimina is a journal of daemonology, magic, and the human condition. Blurring lines between fiction and historic fact, it calls upon daemons and other such entities in both a literal and figurative sense, meandering through the esoteric territory of conspiracy theories, urban psycho-geography, pseudo science and modern mythology. Preaterlimina is available on-line at: http://praeterlimina.bigcartel.com/
web: www.praeterlimina.co.uk
https://www.facebook.com/Project-Praeterlimina-354749097983377/?fref=ts
"Praeterlimina is a journal of daemonology, magic, and the human condition. Blurring lines between fiction and historic fact, it calls upon daemons and other such entities in both a literal and figurative sense, meandering through the esoteric territory of conspiracy theories, urban psycho-geography, pseudo science and modern mythology. Preaterlimina is available on-line at: http://praeterlimina.bigcartel.com/
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Above right: Scissortooth photo by Kevin Eisenlord
SCISSORTOOTH – CD 2015 “Novagomorrah”
label: Galy records www.galyrecords.com
songs: Hostile Takeover / 10 30 / Slowber / Yellowhead / Incision / Shoegazer / Common Thread / Rotting Alive / Nova Gomorrah / Rats / Wormwood //
web: https://www.facebook.com/Scissortooth/?fref=ts
Bare bone, pure sounding Thrash affair by this Vancouver, B.C based act that hark back to the late 89's / early 90's interpretation of the genre, phased with slight HardCore / Crossover elements. There's a thing about 3-piece units, generating this stripped down, honest sound that just adds up to the impact & feel of the music as a whole. This then, makes the band click with Wargasm on more than one occasion, spotlighted on the Crossover edged “Hostile Takeover”, sporting additional twists a la Anthrax' “Indians” but heavier. The fast rapped talk vocals accent the gruff and grainy appearance of the song as is also the case on the 90's styled HardCore Thrasher “Rotting Alive”. The vocalage of singer / guitarist Derek Lundblad can be quite unusual going in a completely different, Alternative tinged direction with a melancholic, minor key voice as on parts of “Slowber”, with a matching HardRock / Metal instrumentation to go with it. The main chunk of the set is Thrash / Power / Groove Metal oriented and given value by a multitude of riffs over a mobile instrumentation and allround technicality that further accent the creative element of the band. This is further complimented by the guitarwork featuring some Jazzy hooks and tip-top solo action. All the goodness that Scissortooth delivers comes together down the tour-de-force that is “Incision”; a mid-paced, kick-ass riff monster a la Pantera, dressed with melancholic vocals and structural twists. In all, a really interesting and different sounding album well worth investigating. Great!
Paul van der Burght
label: Galy records www.galyrecords.com
songs: Hostile Takeover / 10 30 / Slowber / Yellowhead / Incision / Shoegazer / Common Thread / Rotting Alive / Nova Gomorrah / Rats / Wormwood //
web: https://www.facebook.com/Scissortooth/?fref=ts
Bare bone, pure sounding Thrash affair by this Vancouver, B.C based act that hark back to the late 89's / early 90's interpretation of the genre, phased with slight HardCore / Crossover elements. There's a thing about 3-piece units, generating this stripped down, honest sound that just adds up to the impact & feel of the music as a whole. This then, makes the band click with Wargasm on more than one occasion, spotlighted on the Crossover edged “Hostile Takeover”, sporting additional twists a la Anthrax' “Indians” but heavier. The fast rapped talk vocals accent the gruff and grainy appearance of the song as is also the case on the 90's styled HardCore Thrasher “Rotting Alive”. The vocalage of singer / guitarist Derek Lundblad can be quite unusual going in a completely different, Alternative tinged direction with a melancholic, minor key voice as on parts of “Slowber”, with a matching HardRock / Metal instrumentation to go with it. The main chunk of the set is Thrash / Power / Groove Metal oriented and given value by a multitude of riffs over a mobile instrumentation and allround technicality that further accent the creative element of the band. This is further complimented by the guitarwork featuring some Jazzy hooks and tip-top solo action. All the goodness that Scissortooth delivers comes together down the tour-de-force that is “Incision”; a mid-paced, kick-ass riff monster a la Pantera, dressed with melancholic vocals and structural twists. In all, a really interesting and different sounding album well worth investigating. Great!
Paul van der Burght
ISENGARD promotions
web: https://www.facebook.com/IsengardPromotions/
Isengard Promotions is a London based concert-organizer, geared towards Black / Death / Traditional Metal and related concerts / events. Some of the bands Isengard has worked with include: Archgoat, Destoyer 666, Hate, Nightbringer, Varathron, Vital Remains and many more...
web: https://www.facebook.com/IsengardPromotions/
Isengard Promotions is a London based concert-organizer, geared towards Black / Death / Traditional Metal and related concerts / events. Some of the bands Isengard has worked with include: Archgoat, Destoyer 666, Hate, Nightbringer, Varathron, Vital Remains and many more...
LIZZIES – CD / LP 2016 “Good Luck”
label: The Sign records
songs: Phoenix / 666 Miles / Viper / Mirror Maze / Night In Tokyo / Speed On The Road / One Night Woman / Russian Roulette / 8 Ball //
web: https://www.facebook.com/thelizzies/?fref=ts
Fourth outing from this all female outfit from Spain,engaging some traditional styled, 70's & early 80's HardRock with a melodic undertone and heavily accented vocals which add a certain 'cute' factor to the music. Straight forward offering, riff-based and compact with the 5+ minute “8 Ball” as the longest piece. Most Mainstream-like offerings come sin the shape of the slightly ballad-esque “Mirror Maze” and Russian Roulette”, with the upbeat “One Night Women” and the and the slightly Punk-edged “Speed On The Road” on the heavier and faster side of the spectrum. In all, an unpretentious, honest sounding HardRock affair that in certain areas reminds of The Runaways.
Paul van der Burght
label: The Sign records
songs: Phoenix / 666 Miles / Viper / Mirror Maze / Night In Tokyo / Speed On The Road / One Night Woman / Russian Roulette / 8 Ball //
web: https://www.facebook.com/thelizzies/?fref=ts
Fourth outing from this all female outfit from Spain,engaging some traditional styled, 70's & early 80's HardRock with a melodic undertone and heavily accented vocals which add a certain 'cute' factor to the music. Straight forward offering, riff-based and compact with the 5+ minute “8 Ball” as the longest piece. Most Mainstream-like offerings come sin the shape of the slightly ballad-esque “Mirror Maze” and Russian Roulette”, with the upbeat “One Night Women” and the and the slightly Punk-edged “Speed On The Road” on the heavier and faster side of the spectrum. In all, an unpretentious, honest sounding HardRock affair that in certain areas reminds of The Runaways.
Paul van der Burght
METAL by K.K. Downing
http://metal4men.greatbritishtrading.co.uk/
https://www.facebook.com/metal4men
Metal is a fragrance for male and female Rockers and Metalers, developed by The Astbury Fragrance Company in association with Judas Priest founding member and guitar legend K.K.Downing. K.K.'s Metal range includes 'Metal For Men' cologne (100 ml), 'Metal Pour Femme' ladies perfume (50ml) and a luxury shower gel (250 ml) that is also available as a men's gift set with the cologne.
Manic Mosh had a little chat with K.K. Downing about Metal....
http://metal4men.greatbritishtrading.co.uk/
https://www.facebook.com/metal4men
Metal is a fragrance for male and female Rockers and Metalers, developed by The Astbury Fragrance Company in association with Judas Priest founding member and guitar legend K.K.Downing. K.K.'s Metal range includes 'Metal For Men' cologne (100 ml), 'Metal Pour Femme' ladies perfume (50ml) and a luxury shower gel (250 ml) that is also available as a men's gift set with the cologne.
Manic Mosh had a little chat with K.K. Downing about Metal....
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MM: How did the idea to create a fragrance originate?
K.K. Downing: Well, my business partner had already researched creating fragrances with some sporting brands that he was involved with and I was toying with the idea which just came to me one day! Why not make a fragrance for rock and metal fans? 6 months later we had it ready to go and launched our limited editions on Planet Rock. MM: was the name METAL the first choice or did you have other options? K.K. Downing: Metal was the only option really! MM: Since the name suggests the fragrance is targeted towards Metalers, is it mostly men or women that use METAL? KK Downing: Mostly men at the moment, although the Metal for Women is catching on now. MM: What are the base notes of the fragrance, and how would you describe the fragrance scent wise? K.K. Downing: Well, Metal for Men is a 100ml Cologne blended at a 15% fragrance inclusion level which gives a long lasting and complicated scent, it’s a stimulating fragrance that bursts to life with a striking blend of bright citrus fruits. An earthy heart of cedar is lightened by a floral bouquet of jasmine, amber and lily that sinks into a sumptuous pillow of amber musk and sandalwood. That’s the official description from the on-line store, and the Metal for ladies is a 50 ml perfume for women which opens with warm notes of cherry and raspberry that are blended with the refreshing tang of mandarin. At its heart, soft notes of delicate orchid and Gardenia slide into a smooth vanilla base, with sandalwood highlights. MM: How has METAL been received so far, and did you expect it to develop this way, this soon? K.K. Downing: We have released Metal as a limited signed edition, also now into the States and Canada and it is gaining even a worldwide following. The plan is to tie in with retail stores especially across the Pond where most of the Judas Priest fan base are. Check us out on Facebook, I drop in from time to time to say hi and give away cool stuff! MM: Are there plans to create additional fragrances and would that be under the same name? K.K. Downing: Yes, when we have gained a foothold with on the ground retail it would be cool to have a range of Metal products.. MM: Has the fragrance been Moshpit and festival tested? K.K. Downing: I’m sure that Metal has been in a Mosh pit or two by now lol! MM: Anything else you'd like to add? K.K. Downing: Hi to all the readers of Manic Mosh and all Metalheads out there! The Metal fragrances, along with a selection of related merchandise are available directly @ the Metal webshop via the links above and include FREE shipping to the U.K, Europe, U.S.A and Canada |
SONICK PLAGUE – CD 2015 SONICK PLAGUE
label: Pavement Music www.pavementmusic.com
songs: Street Wars / My Gun / AA / I Don't Want To Relax / View Of Death / One Swift kick / Misc Bullshit / NRG //
web: www.sonickplague.com www.facebook.com/sonickplague
Originally released as “What's The Purpose”, the 1988, one-off album from this West Virginia (U.S.A) outfit has completely been re-recorded and re-launched in 2015 by Pavement Music. Having started in '84, Sonick Plague clearly is the product of the then developing trend in Thrash Metal, flirting with HardCore as the genre developed as Crossover around '86. Bands such as Nuclear Assault, At War and Anthrax paved the way, and this is the path Sonick Plague also set foot on, sounding like an amalgam of the aforementioned. This comes complete with fast, snare drummed drives, crisp rhythm riffage and snappy, Hardcore styled 'rap' vocalage with the occasional backing shouts to it. Material is all riff / guitar oriented and pretty much centered around the gripping guitar leads that alternate sharp staccato riffage with HardCore styled chords; a combination that triggers plenty of Moshpit moments throughout. Even though the riffs operate in a repetitive modus, there's usually a succession of different riffs, along with a solid number of guitar fillers and hooks. Drums are all HardCore styled, and it is the absence of double bass that sort of differentiates Sonick Plague from the musical sources mentioned earlier. The vocals of Sean Donnelly match the music and give it this aggressive undertone, delivering a rough and raised, upper mid range voice in a talk type manner. Those who dig the Moshing Metal sound of the 80's will not be disappointed as Sonick Plague does all that! Enjoyable
Paul van der Burght
label: Pavement Music www.pavementmusic.com
songs: Street Wars / My Gun / AA / I Don't Want To Relax / View Of Death / One Swift kick / Misc Bullshit / NRG //
web: www.sonickplague.com www.facebook.com/sonickplague
Originally released as “What's The Purpose”, the 1988, one-off album from this West Virginia (U.S.A) outfit has completely been re-recorded and re-launched in 2015 by Pavement Music. Having started in '84, Sonick Plague clearly is the product of the then developing trend in Thrash Metal, flirting with HardCore as the genre developed as Crossover around '86. Bands such as Nuclear Assault, At War and Anthrax paved the way, and this is the path Sonick Plague also set foot on, sounding like an amalgam of the aforementioned. This comes complete with fast, snare drummed drives, crisp rhythm riffage and snappy, Hardcore styled 'rap' vocalage with the occasional backing shouts to it. Material is all riff / guitar oriented and pretty much centered around the gripping guitar leads that alternate sharp staccato riffage with HardCore styled chords; a combination that triggers plenty of Moshpit moments throughout. Even though the riffs operate in a repetitive modus, there's usually a succession of different riffs, along with a solid number of guitar fillers and hooks. Drums are all HardCore styled, and it is the absence of double bass that sort of differentiates Sonick Plague from the musical sources mentioned earlier. The vocals of Sean Donnelly match the music and give it this aggressive undertone, delivering a rough and raised, upper mid range voice in a talk type manner. Those who dig the Moshing Metal sound of the 80's will not be disappointed as Sonick Plague does all that! Enjoyable
Paul van der Burght
TAD MOROSE – CD 2015 “St. Demonius”
label: Despotz records http://despotz.se/
songs: Bow to The Reapers Blade / Forlorn / Where Ignorance Reigns / Remain / Black Fire / Day Of Reckoning / The Shadows Play / Darkness Prevail / Fear Subside / Dream Of Memories / The World Is Growing Old / Your Own Demise //
web: http://www.tadmorose.se/
Swedish act Tad Morose have been around ever since the early 90's and managed to belt out a whole series of releases despite the fact that the band had to cope with several label and line-up changes that were most frequent in the vocal department. “St. Demonius” is their 8th full-lengther and is said to be more straight forward, more melodic and yet heavier... Gauging this 12 songer, all that applies engaging a set that is mostly slow / moderately to mid-paced, and in essence featuring a cohesion of 2 different tempos per track. This tends to tip over towards a fairly unanimous feel throughout with only but 2 faster tracks; the up-tempo PowerMetaler “Where Ignorance Reigns” and the fast, galloping “The Shadows Play”, drawing certain similarities to Vicious Rumours. This is further accented by the vocalage of Ronny Hemlin, delivering a muscular, melodic edged PowerMetal voice in the upper mid-region with a solid vibrato and higher pitched modes. Songs are riff-based and come in strong and heavy with some really chunky leads to fuel songs such as “Forlorn” and “Remain”. Concept-wise, Tad Morose moves somewhere in between Vicious Rumours, Helloween, Iced Earth and Dio engaging a mix of atmospheric-laden, melodic Metal / PowerMetal with modest synths usage. Even though the album might have benefited from one or two additional fast cuts, the package works as it is, and it works well. Strong.
Paul van der Burght
label: Despotz records http://despotz.se/
songs: Bow to The Reapers Blade / Forlorn / Where Ignorance Reigns / Remain / Black Fire / Day Of Reckoning / The Shadows Play / Darkness Prevail / Fear Subside / Dream Of Memories / The World Is Growing Old / Your Own Demise //
web: http://www.tadmorose.se/
Swedish act Tad Morose have been around ever since the early 90's and managed to belt out a whole series of releases despite the fact that the band had to cope with several label and line-up changes that were most frequent in the vocal department. “St. Demonius” is their 8th full-lengther and is said to be more straight forward, more melodic and yet heavier... Gauging this 12 songer, all that applies engaging a set that is mostly slow / moderately to mid-paced, and in essence featuring a cohesion of 2 different tempos per track. This tends to tip over towards a fairly unanimous feel throughout with only but 2 faster tracks; the up-tempo PowerMetaler “Where Ignorance Reigns” and the fast, galloping “The Shadows Play”, drawing certain similarities to Vicious Rumours. This is further accented by the vocalage of Ronny Hemlin, delivering a muscular, melodic edged PowerMetal voice in the upper mid-region with a solid vibrato and higher pitched modes. Songs are riff-based and come in strong and heavy with some really chunky leads to fuel songs such as “Forlorn” and “Remain”. Concept-wise, Tad Morose moves somewhere in between Vicious Rumours, Helloween, Iced Earth and Dio engaging a mix of atmospheric-laden, melodic Metal / PowerMetal with modest synths usage. Even though the album might have benefited from one or two additional fast cuts, the package works as it is, and it works well. Strong.
Paul van der Burght
DANGEROUS – CD CHILE 2016 “Metal Heritage”
web: https://www.facebook.com/dangerousthrash/
Chilean outfit doing the old-school Thrash thing and doing it very well! Think a mix of the early Metallica, “Kill 'em All” era, sound (referring to songs such as “Running Amok”, “Thrash On The Streets”), Bay Area Thrash (“Victims Of Hate”), 80's Crossover / HardCore Thrash (titletrack, “Victims Of Hate”) with hints of Destruction and Testament thrown in. Essence of the music lies in the delivery of furious mobility staccato riffage, fast, snare drummed drives and snappy vocal raps with a proper technicality and the odd, Maiden-ish harmonies Textbook performance that goes right back to the 80's. Solid!
specs: limited edition of 500 copies
Paul van der Burght
web: https://www.facebook.com/dangerousthrash/
Chilean outfit doing the old-school Thrash thing and doing it very well! Think a mix of the early Metallica, “Kill 'em All” era, sound (referring to songs such as “Running Amok”, “Thrash On The Streets”), Bay Area Thrash (“Victims Of Hate”), 80's Crossover / HardCore Thrash (titletrack, “Victims Of Hate”) with hints of Destruction and Testament thrown in. Essence of the music lies in the delivery of furious mobility staccato riffage, fast, snare drummed drives and snappy vocal raps with a proper technicality and the odd, Maiden-ish harmonies Textbook performance that goes right back to the 80's. Solid!
specs: limited edition of 500 copies
Paul van der Burght
DARKNESS SHADE records
web: http://darknessshaderecords.blogspot.co.uk/
Darkness Shade records is a U.K based Underground cassette & CD record label and mailorder that is geared towards Dark – Drone Ambient / BlackMetal and related. Some of the artists / bands released through Darkness Shade include Orbis, Witchclan, The Stone, Frostmoon Eclipse and others.
web: http://darknessshaderecords.blogspot.co.uk/
Darkness Shade records is a U.K based Underground cassette & CD record label and mailorder that is geared towards Dark – Drone Ambient / BlackMetal and related. Some of the artists / bands released through Darkness Shade include Orbis, Witchclan, The Stone, Frostmoon Eclipse and others.
AGGRAVATOR – CD 2014 “Populace Destructor”
label: Dead Center Productions http://deadcenter666.com/label/
songs: Born In Uniform / Fleshwork / Social Unrest / Aestus Mortis / Fatalist / Populace Destructor / Industrial Conflicts / Unparalleled Cruelty / Isolated Despair / Frozen Atrocities //
web: http://www.aggravatorofficial.com/
Second full-lengther by Texas Thrashers Aggravator, engaging some all-out mid-80's U.S Thrash Metal of the heavier kind. The album alternates fast, snare drummed tracks with slower, mod-tempo Thrashers or incorporates both within individual songs. It is the slower modes that trigger those sticky, bobbing rhythms as they are hooked up with those trademark, Bay Area staccato Thrash riffs, as captured on “Fleshwork”, “Fatalist”, “Industrial Conflicts”, “Unparalleled Cruelty”, and “Isolated Despair”. Opening tune “Born In Uniform” is among the fastest picks of the album, leaning towards DeathThrash with its growling, gasp-modus vocalage. It is also here that the band draws certain similarities to Slayer - “Reign In Blood” era with a semi-technical twist added on the high-low-and-reverse riffed “Unparalleled Cruelty” as it accelerates. And then there's the snare-drummed Thrashers, “Social Unrest”, “Populace Destructor” (slow-fast-slow Thrasher). Aggravator have perfectly replicated the traditional West-Coast Thrash sound and even the guitar tone sounds as it comes straight out of the 80's. Instrumentally, the whole concept is pretty Bay Area styled; it is the gruff voice of Derek Jones that gives the material this intensified swing towards DeathThrash with some matching leads thrown in on an occasion or two. The riffs are crunching, rhythmic and the allround guitar-flash is textbook Thrash. This is one very convincing and entertaining slab of Thrash Metal that moves somewhere in between Slayer, Death Angel, and Testament without sounding anything like a copy. Great.
Paul van der Burght
label: Dead Center Productions http://deadcenter666.com/label/
songs: Born In Uniform / Fleshwork / Social Unrest / Aestus Mortis / Fatalist / Populace Destructor / Industrial Conflicts / Unparalleled Cruelty / Isolated Despair / Frozen Atrocities //
web: http://www.aggravatorofficial.com/
Second full-lengther by Texas Thrashers Aggravator, engaging some all-out mid-80's U.S Thrash Metal of the heavier kind. The album alternates fast, snare drummed tracks with slower, mod-tempo Thrashers or incorporates both within individual songs. It is the slower modes that trigger those sticky, bobbing rhythms as they are hooked up with those trademark, Bay Area staccato Thrash riffs, as captured on “Fleshwork”, “Fatalist”, “Industrial Conflicts”, “Unparalleled Cruelty”, and “Isolated Despair”. Opening tune “Born In Uniform” is among the fastest picks of the album, leaning towards DeathThrash with its growling, gasp-modus vocalage. It is also here that the band draws certain similarities to Slayer - “Reign In Blood” era with a semi-technical twist added on the high-low-and-reverse riffed “Unparalleled Cruelty” as it accelerates. And then there's the snare-drummed Thrashers, “Social Unrest”, “Populace Destructor” (slow-fast-slow Thrasher). Aggravator have perfectly replicated the traditional West-Coast Thrash sound and even the guitar tone sounds as it comes straight out of the 80's. Instrumentally, the whole concept is pretty Bay Area styled; it is the gruff voice of Derek Jones that gives the material this intensified swing towards DeathThrash with some matching leads thrown in on an occasion or two. The riffs are crunching, rhythmic and the allround guitar-flash is textbook Thrash. This is one very convincing and entertaining slab of Thrash Metal that moves somewhere in between Slayer, Death Angel, and Testament without sounding anything like a copy. Great.
Paul van der Burght
BLACK SLEEP – CD 2015 “The Whales Of The Grey Sea”
Label: Sliptrick records
songs: Tiny Pieces / Soulcatcher / 2013 / Choices / Moonsick / Animal Puppets //
web: https://www.facebook.com/blacksleepband/
The debut album by Finnish 4-piece Black Sleep dates right back to the 90's, employing a creative format of cold, almost Goth like Industrial Metal that moves somewhere in between Nine Inch Nails and Fear Factory. Songs are mostly in the 4 / 5 minute time bracket with “Animal Puppets” being slightly longer, clocking in at 6:47 minutes. The band has produced a wall of sound with chunky crunch riffs and the synths key notes adding the moods and minor melodies. The vocals are of the Industrial kind; 'stretched' and deep or regular toned in a fairly talk type manner a la Fear Factory (particularly on “Moonsick”) with matching instrumentation and vibe. There's a few moments the vocals go into gruff / scream modus, as witnessed on “Tiny Pieces”, “Soulcatcher” and “Animal Puppets” but Black Sleep has kept this to a minimum which works in their advantage steering away from any possible Nu trends. “The Whales Of the Grey Sea” sticks together very well, and there's a lot happening within the music without being technical type. Solid.
Paul van der Burght
Label: Sliptrick records
songs: Tiny Pieces / Soulcatcher / 2013 / Choices / Moonsick / Animal Puppets //
web: https://www.facebook.com/blacksleepband/
The debut album by Finnish 4-piece Black Sleep dates right back to the 90's, employing a creative format of cold, almost Goth like Industrial Metal that moves somewhere in between Nine Inch Nails and Fear Factory. Songs are mostly in the 4 / 5 minute time bracket with “Animal Puppets” being slightly longer, clocking in at 6:47 minutes. The band has produced a wall of sound with chunky crunch riffs and the synths key notes adding the moods and minor melodies. The vocals are of the Industrial kind; 'stretched' and deep or regular toned in a fairly talk type manner a la Fear Factory (particularly on “Moonsick”) with matching instrumentation and vibe. There's a few moments the vocals go into gruff / scream modus, as witnessed on “Tiny Pieces”, “Soulcatcher” and “Animal Puppets” but Black Sleep has kept this to a minimum which works in their advantage steering away from any possible Nu trends. “The Whales Of the Grey Sea” sticks together very well, and there's a lot happening within the music without being technical type. Solid.
Paul van der Burght
VOODOO HILL – CD 2015 “Waterfall”
label: Frontiers records
songs: All That Remains / The Well / Rattle Shake Bone / Underneath And Down Below / Waterfall / Karma Go / Evil Thing / Eldorado / White Feather / Sunflower / Last Door //
The name Vood Hill basically carries itself with a line-up that includes hall of fame bassist / singer Glenn Hughes (Deep Purple) and Italian guitar virtuoso and producer Dario Mollo. As such, pro-musicianship is a given on the band's third offering that has the Glenn Hughes Blues swing written all over. The album starts surprisingly Poppy with the mild format, commercially aimed “All That Remains” which is a rather mundane affair. Voodoo Hill gets down to business with the mod / mid-paced Blues Rockers “The Well” and “Rattle Shake Bone” sporting a toe-tapping beat and some really heavy guitar hooks for a genre like this; a thing that comes re-surfacing on the slow and sludgy “Karma Go” and the chunky, mid-paced “Evil Thing”. It all sticks from start to finish but tends to get a bit linear concept-wise, and with that, little differentiation in tempo to compensate, rolling on either a moderate or mid-tempo drive. Songs that make a difference and count as the better picks are the slow and ominous HardRocker “Underneath And Down Below” (hinting at Rainbow's “Stargazer” complete with BlackMore ish solo, followed up by a Malmsteen like speed-chop). Other one is the heavy, dramatic balladry of the titletrack highlighting the vocal abilities of Mr. Hughes and the fretwork frenzy of Dario Mollo. Fans of Glenn Hughes will have no problem tuning into the material as it is dominated by the man's distinctive, Soul infused upper mid-range voice. In all, a nice repertoire of fairly static and chunk riffed, Blues injected Rock songs minus the absolute mismatch that is “All That Remains”, particularly knowing it is the opening track.
Paul van der Burght
label: Frontiers records
songs: All That Remains / The Well / Rattle Shake Bone / Underneath And Down Below / Waterfall / Karma Go / Evil Thing / Eldorado / White Feather / Sunflower / Last Door //
The name Vood Hill basically carries itself with a line-up that includes hall of fame bassist / singer Glenn Hughes (Deep Purple) and Italian guitar virtuoso and producer Dario Mollo. As such, pro-musicianship is a given on the band's third offering that has the Glenn Hughes Blues swing written all over. The album starts surprisingly Poppy with the mild format, commercially aimed “All That Remains” which is a rather mundane affair. Voodoo Hill gets down to business with the mod / mid-paced Blues Rockers “The Well” and “Rattle Shake Bone” sporting a toe-tapping beat and some really heavy guitar hooks for a genre like this; a thing that comes re-surfacing on the slow and sludgy “Karma Go” and the chunky, mid-paced “Evil Thing”. It all sticks from start to finish but tends to get a bit linear concept-wise, and with that, little differentiation in tempo to compensate, rolling on either a moderate or mid-tempo drive. Songs that make a difference and count as the better picks are the slow and ominous HardRocker “Underneath And Down Below” (hinting at Rainbow's “Stargazer” complete with BlackMore ish solo, followed up by a Malmsteen like speed-chop). Other one is the heavy, dramatic balladry of the titletrack highlighting the vocal abilities of Mr. Hughes and the fretwork frenzy of Dario Mollo. Fans of Glenn Hughes will have no problem tuning into the material as it is dominated by the man's distinctive, Soul infused upper mid-range voice. In all, a nice repertoire of fairly static and chunk riffed, Blues injected Rock songs minus the absolute mismatch that is “All That Remains”, particularly knowing it is the opening track.
Paul van der Burght
SPEEDTRAP – CD 2015 “Straight Shooter”
label: Svart records www.svartrecords.com/
songs: No Glory Found / Torches Ablaze / Running Rampant / Eyes For Conquest / Serve Your Masters / Straight Shooter / Heavy Armor / Savage The Prey //
web: https://www.facebook.com/speedtrapmetal
“Straight Shooter” is is the second full-lengther by Finnish outfit Speedtrap, succeeding the 2013 “Powerdose” album. “Straight Shooter” pretty much continues the concept of it predecessor, tuning into pure, straight forward Euro-Metal played in the early & mid-80's tradition. Concept is catchy, riff-based and, in essence, high spoeed HardRock. The tempo is up for about half the album, referrig to the (double) bass drummed Headbangers “No Glory Found”, “Torches Ablaze”, “Serve Your Masters” and “Savage The Prey”. It is here that the band moves somewhere in between Motorhead, Gravedigger and Canadian Speedsters Razor. As for the Motorhead thing; this mainly comes off in the guitar department as spotlighted in the slower, mid-paced HardRockers “Straight Shooter” and “Heavy Armor”. Vocally, there is a certain resemblance to AC /DC and Gravedigger, as frontman Jori Sara-Aho has that similar sort of raised voice, however, in a slightly lower key. The band is often tagged as SpeedMetal, but frankly, this band has more of a traditional, Hard Rock 'n' Rolling vibe pre-SpeedMetal era, with some energetic Headbangers thrown in. Do not expect technicality or anything such on “Straight Shooter”; this is a no frills. 'plug in and play' affair that grooves, entertains and will put your Headbanging skills to the test!
Paul van der Burght
label: Svart records www.svartrecords.com/
songs: No Glory Found / Torches Ablaze / Running Rampant / Eyes For Conquest / Serve Your Masters / Straight Shooter / Heavy Armor / Savage The Prey //
web: https://www.facebook.com/speedtrapmetal
“Straight Shooter” is is the second full-lengther by Finnish outfit Speedtrap, succeeding the 2013 “Powerdose” album. “Straight Shooter” pretty much continues the concept of it predecessor, tuning into pure, straight forward Euro-Metal played in the early & mid-80's tradition. Concept is catchy, riff-based and, in essence, high spoeed HardRock. The tempo is up for about half the album, referrig to the (double) bass drummed Headbangers “No Glory Found”, “Torches Ablaze”, “Serve Your Masters” and “Savage The Prey”. It is here that the band moves somewhere in between Motorhead, Gravedigger and Canadian Speedsters Razor. As for the Motorhead thing; this mainly comes off in the guitar department as spotlighted in the slower, mid-paced HardRockers “Straight Shooter” and “Heavy Armor”. Vocally, there is a certain resemblance to AC /DC and Gravedigger, as frontman Jori Sara-Aho has that similar sort of raised voice, however, in a slightly lower key. The band is often tagged as SpeedMetal, but frankly, this band has more of a traditional, Hard Rock 'n' Rolling vibe pre-SpeedMetal era, with some energetic Headbangers thrown in. Do not expect technicality or anything such on “Straight Shooter”; this is a no frills. 'plug in and play' affair that grooves, entertains and will put your Headbanging skills to the test!
Paul van der Burght
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Phexxie Bizarre photos left and right © by Colin Grist / Pathway studios
PHEXXIE BIZARRE – U.K Alternative / Goth Model
web: www.facebook.com/phexxie.b
Phexxie Bizarre is a U.K Alternative / Goth Model who started modelling on and off around college work some ten years ago. She started by helping friends in college with their photography work and it kind of spiralled from there. Phexxie's career took a more professional approach after she left university but her intentions never changed; “Modelling has always been about expression and creativity for me, rather than fame and adoration”. “These days, I pretty much shoot whatever ideas come into my head! I've been lucky enough to be published multiple times within the U.K and internationally and worked alongside some amazing people, it's all very humbling for a normal, everyday nerdy girl like me”. Phexxie is currently represented by Rogue Model Management and can be booked through them or privately via her Facebook page (see link above). “My first love will always be art and illustration - you can see my art page here although it's in dire need of an update: https://www.facebook.com/LauraAkoyaArt “.I have a lot of plans for this side of my creative life, but like many creative types I'm always trying to do too many things at once!. If I'm not shooting or drawing, you'll probably find me gaming - which I've been doing very regularly since I was six when the PS4/XBOXOne era was still a long way off!” “Some of the bands I like listening to include Angels If Liberty, Merciful Nuns, Bauhaus, Pink Turns Blue etc, and and I've found I really like New Retro Wave too, artists such as Mega Drive, Dance Of The Dead and Kavinsky
Photographers:
Colin Grist / Pathway Studios www.pathwaystudios.co.uk
Paul Webster / Paul Webster Photography http://paul-webster.co.uk/Gallery80/index.htm
Keith Darch / Gingertuft Photography https://www.facebook.com/GingerTuftPhotography
web: www.facebook.com/phexxie.b
Phexxie Bizarre is a U.K Alternative / Goth Model who started modelling on and off around college work some ten years ago. She started by helping friends in college with their photography work and it kind of spiralled from there. Phexxie's career took a more professional approach after she left university but her intentions never changed; “Modelling has always been about expression and creativity for me, rather than fame and adoration”. “These days, I pretty much shoot whatever ideas come into my head! I've been lucky enough to be published multiple times within the U.K and internationally and worked alongside some amazing people, it's all very humbling for a normal, everyday nerdy girl like me”. Phexxie is currently represented by Rogue Model Management and can be booked through them or privately via her Facebook page (see link above). “My first love will always be art and illustration - you can see my art page here although it's in dire need of an update: https://www.facebook.com/LauraAkoyaArt “.I have a lot of plans for this side of my creative life, but like many creative types I'm always trying to do too many things at once!. If I'm not shooting or drawing, you'll probably find me gaming - which I've been doing very regularly since I was six when the PS4/XBOXOne era was still a long way off!” “Some of the bands I like listening to include Angels If Liberty, Merciful Nuns, Bauhaus, Pink Turns Blue etc, and and I've found I really like New Retro Wave too, artists such as Mega Drive, Dance Of The Dead and Kavinsky
Photographers:
Colin Grist / Pathway Studios www.pathwaystudios.co.uk
Paul Webster / Paul Webster Photography http://paul-webster.co.uk/Gallery80/index.htm
Keith Darch / Gingertuft Photography https://www.facebook.com/GingerTuftPhotography
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Above left: photo by Paul Webster / Paul Webster Photography, right: photo by Keith Darch / Gingertuft Photography
KORE ROZZIK – single 2015 “Rock Star”
label: private
songs: Rock Star
web: www.korerozzik.com www.facebook.com/KoreRozzikNYC
Debut single by Queens, New York based 5-piece Kore Rozzik, stickered by the band as 'a sing-a-long anti-hater upset-your-father summer-smash'. Picture a mix of Motley Crue, Faster Pussycat and Spread Eagle with the lyrical humour / sarcasm of Steel Panther thrown in and that is pretty much where the self-released “Rock Star” is at. So, what it is here is a pumping mod / mid-paced HardRock groovster sporting a really heavy guitar lead, roughed up vocals and an allround touch upon the Glam / Sleaze thing American style. This is a flashback of early – mid 90's HardRock; this is Kore Rozzik!
Paul van der Burght
label: private
songs: Rock Star
web: www.korerozzik.com www.facebook.com/KoreRozzikNYC
Debut single by Queens, New York based 5-piece Kore Rozzik, stickered by the band as 'a sing-a-long anti-hater upset-your-father summer-smash'. Picture a mix of Motley Crue, Faster Pussycat and Spread Eagle with the lyrical humour / sarcasm of Steel Panther thrown in and that is pretty much where the self-released “Rock Star” is at. So, what it is here is a pumping mod / mid-paced HardRock groovster sporting a really heavy guitar lead, roughed up vocals and an allround touch upon the Glam / Sleaze thing American style. This is a flashback of early – mid 90's HardRock; this is Kore Rozzik!
Paul van der Burght
ASSASSIN'S BLADE – CD 2016 “Agents Of Mystification”
label: Pure Steel records
songs: Agents of Mystification / Herostratos / The Demented Force / Dreadnought / Autumn Serenade / Transgression / Nowhere Riders / Crucible Of War / Frosthammer / League Of The Divine Wind / Prophet’s Urn //
web: www.assassins-blade.com
Debut album by a brand new, international coalition that has former Exciter frontman Jacques Bélanger teaming up with the backbone of the band that is comprised of Swedish musicians David Stranderud (lead guitars), Marcus Rosenkvist (drums) and Peter Svensson (bass) with some guitar contributions by producer / Overdrive guitarist Janne Stark. The musicianship stands out right from the very start of “Agents Of Mystification”; a double-bass drummed, mid-paced Metaler with the Scandinavian touch presented in a dramatic, Nordic style atmosphere that, in a far distance, may bring Candlemass to mind. This Nordic element comes resurfacing down the moderately paced PowerMetaler “Crucible Of War” that sort of clicks with Ruthless. The sound of ASSASSIN'S BLADE dates right back to the 80's, merging the likes of Judas Priest and Agent Steel with hints of Maiden / Bruce Dickinson in the vocal department. A thing that is pushed forward on the lightly melodic laden HardRock / Metal mixed tunes “Autumn Serenade” and “Frosthammer”, plus the slow, dramatic sphered “League Of The Divine Wind” that accelerates in a Maiden-meets-Nordic fashion. Material is mainly moderately to mid-paced and PowerMetal minded with the HardRock / Metal thing appearing on some four tracks. The vocals of Balenger are in the centre of attention but do not overrule in either mix or presentation, one simply gets drawn towards them, the more so as they are an essential part in capturing this Mystical mood that runs through the concept. Balenger does it perfectly, delivering an all-out PowerMetal muscle voice that is deep and powerful with a solid vibrato. The “Agents Of Mystification” album is a pitch perfect, classic PowerMetal affair with all the trimmings. Strong!
Paul van der Burght
label: Pure Steel records
songs: Agents of Mystification / Herostratos / The Demented Force / Dreadnought / Autumn Serenade / Transgression / Nowhere Riders / Crucible Of War / Frosthammer / League Of The Divine Wind / Prophet’s Urn //
web: www.assassins-blade.com
Debut album by a brand new, international coalition that has former Exciter frontman Jacques Bélanger teaming up with the backbone of the band that is comprised of Swedish musicians David Stranderud (lead guitars), Marcus Rosenkvist (drums) and Peter Svensson (bass) with some guitar contributions by producer / Overdrive guitarist Janne Stark. The musicianship stands out right from the very start of “Agents Of Mystification”; a double-bass drummed, mid-paced Metaler with the Scandinavian touch presented in a dramatic, Nordic style atmosphere that, in a far distance, may bring Candlemass to mind. This Nordic element comes resurfacing down the moderately paced PowerMetaler “Crucible Of War” that sort of clicks with Ruthless. The sound of ASSASSIN'S BLADE dates right back to the 80's, merging the likes of Judas Priest and Agent Steel with hints of Maiden / Bruce Dickinson in the vocal department. A thing that is pushed forward on the lightly melodic laden HardRock / Metal mixed tunes “Autumn Serenade” and “Frosthammer”, plus the slow, dramatic sphered “League Of The Divine Wind” that accelerates in a Maiden-meets-Nordic fashion. Material is mainly moderately to mid-paced and PowerMetal minded with the HardRock / Metal thing appearing on some four tracks. The vocals of Balenger are in the centre of attention but do not overrule in either mix or presentation, one simply gets drawn towards them, the more so as they are an essential part in capturing this Mystical mood that runs through the concept. Balenger does it perfectly, delivering an all-out PowerMetal muscle voice that is deep and powerful with a solid vibrato. The “Agents Of Mystification” album is a pitch perfect, classic PowerMetal affair with all the trimmings. Strong!
Paul van der Burght
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THE MOUNTAIN MAN – CD EP 2016 “Bloodlust”
label: private
songs: Backhand Of God / Bloodlust / Open Graves / The Great Decay / Ghost //
web: https://www.facebook.com/mountainmanmetal
Debut release by this Canadian outfit, dubbed as 'Vancouver's rugged Outdoor Metallers'.Originating from such an environment finds The Mountain Man producing a similar cold and gloomy atmosphere as replicated by Nordic bands. So, there's moments this thing feels like a midnight walk through a moonlit forest, and The Mountain Man does not shy away from incorporating Scandinavian Death and BlackMetal elements, as evidenced on the E.P's heaviest track “Bloodlust”, featuring slam-drummed chops, high-low-and-reversed-riffage and BlackMetal ish vocal raps, alongside chunky MetalCore groove riffage, and deep, aggressive talk-gruntage. This thing goes through a whole series of melody changes and different types of riffage without it coming across as technical or Progressive. Overall, the tempo is slow / moderately paced with the occasional blast beat thrown in there. The Mountain Man dares to explore and combine and give it a swing that is all their own. Yes, the deep and downtoned groove riffage, and the connected Doom edge click with one of their inspirational sources, Crowbar, but that is pretty much were similarities end as The Mountain Man is far more intense, particularly vocally. Singer Parker has an incredibly powerful voice that is capable to produce a variety of appearances; from deep and growling grunts and Black Metal rasp modus (be it in a lower tone) to talk-type MetalCore and stretched screams without sounding trendy or fake. As its title suggests, “Ghost” has a dark and downtoned, almost depressingly cold vibe, rolling on Sabbath-esque, stretched minor key guitars and growling vocals, alternated with meaty MetalCore grooves. Throughout the disc there is a significant guitar – bassdrum synchronization that, in combination with the powerpunch production by Matt Roach (Greenhouse Studios) delivers this stake-through-the-heart-thrust to do the music of The Mountain Man justice. This is one very convincing and entertaining listening affair that is well up in the intensity levels. Great E.P, excellent band.
Paul van der Burght
label: private
songs: Backhand Of God / Bloodlust / Open Graves / The Great Decay / Ghost //
web: https://www.facebook.com/mountainmanmetal
Debut release by this Canadian outfit, dubbed as 'Vancouver's rugged Outdoor Metallers'.Originating from such an environment finds The Mountain Man producing a similar cold and gloomy atmosphere as replicated by Nordic bands. So, there's moments this thing feels like a midnight walk through a moonlit forest, and The Mountain Man does not shy away from incorporating Scandinavian Death and BlackMetal elements, as evidenced on the E.P's heaviest track “Bloodlust”, featuring slam-drummed chops, high-low-and-reversed-riffage and BlackMetal ish vocal raps, alongside chunky MetalCore groove riffage, and deep, aggressive talk-gruntage. This thing goes through a whole series of melody changes and different types of riffage without it coming across as technical or Progressive. Overall, the tempo is slow / moderately paced with the occasional blast beat thrown in there. The Mountain Man dares to explore and combine and give it a swing that is all their own. Yes, the deep and downtoned groove riffage, and the connected Doom edge click with one of their inspirational sources, Crowbar, but that is pretty much were similarities end as The Mountain Man is far more intense, particularly vocally. Singer Parker has an incredibly powerful voice that is capable to produce a variety of appearances; from deep and growling grunts and Black Metal rasp modus (be it in a lower tone) to talk-type MetalCore and stretched screams without sounding trendy or fake. As its title suggests, “Ghost” has a dark and downtoned, almost depressingly cold vibe, rolling on Sabbath-esque, stretched minor key guitars and growling vocals, alternated with meaty MetalCore grooves. Throughout the disc there is a significant guitar – bassdrum synchronization that, in combination with the powerpunch production by Matt Roach (Greenhouse Studios) delivers this stake-through-the-heart-thrust to do the music of The Mountain Man justice. This is one very convincing and entertaining listening affair that is well up in the intensity levels. Great E.P, excellent band.
Paul van der Burght
RAMPART – CD 2106 “Codex Metalum”
label: Iron Shield records http://www.ironshieldrecords.de/
songs: Apocalypse Or Theater / Diamond Ark / The Metal Code / Of Nightfall / Sacred Anger / Into The Rocks / Colors Of The Twilight / Crown Land / Majesty (Blind Guardian Cover) //
web: http://www.rampartmetal.com/
Fourth album by this Bulgarian outfit, fronted by singer Maria 'Diese' Doychinova. Rampart delivers some 80's styled Euro Metal / PowerMetal with a vocal style that reminds of Sussie Christensen (Crystal Pride) and a concept that clicks with traditional speedsters Acid. This catapults Rampart straight into 80's Headbangers / Metal the Belgian way, merged with modern / melodic PowerMetal with a classic backbone. The Belgian Metal sound best captured on the faster picks of the album; the double bass drummed Euro-Headbangers “Diamond Ark”, “Into The Rocks”, and the accelerated, second half of “Sacred Anger” that starts off as a Nu styled yet classic rooted PowerMetal ballad. Quite different in allround approach is the moderately paced 80's HardRocker “Colors Of The Twilight” that sounds like a get-together of Rainbow's “Lady Starstruck”, The Scorpion's “The Zoo” and Savage Grace's “Fear My Way”! The “Codex Metalum” album is a riff / guitar based affair with the (almost Thrash like) guitars heavily mixed in and the drums a bit lost in the overall sound. No blistering solo-action here but nice altogether with a good lot of cool, harmonized melodies throughout the set. The vocalage sounds quite unusual at first glance, and most evidently down opening track “Apocalypse Or Theater” sporting a level tone, talk-type voice, with a higher, upper mid-range pitch down the refrain. The vocals do not really cut it in key control and delivery, but do shape up as the disc furthers and the pitch is up. Given that Maria's voice is quite a distinctive one, it may not be to everyone's liking gauging its imperfections, and those weird, helium type effects down “Sacred Anger” Putting it all together, Rampart's “Codex Metalum” is a fairly decent set of sticky songs played in the old-school Metal tradition.
Paul van der Burght
label: Iron Shield records http://www.ironshieldrecords.de/
songs: Apocalypse Or Theater / Diamond Ark / The Metal Code / Of Nightfall / Sacred Anger / Into The Rocks / Colors Of The Twilight / Crown Land / Majesty (Blind Guardian Cover) //
web: http://www.rampartmetal.com/
Fourth album by this Bulgarian outfit, fronted by singer Maria 'Diese' Doychinova. Rampart delivers some 80's styled Euro Metal / PowerMetal with a vocal style that reminds of Sussie Christensen (Crystal Pride) and a concept that clicks with traditional speedsters Acid. This catapults Rampart straight into 80's Headbangers / Metal the Belgian way, merged with modern / melodic PowerMetal with a classic backbone. The Belgian Metal sound best captured on the faster picks of the album; the double bass drummed Euro-Headbangers “Diamond Ark”, “Into The Rocks”, and the accelerated, second half of “Sacred Anger” that starts off as a Nu styled yet classic rooted PowerMetal ballad. Quite different in allround approach is the moderately paced 80's HardRocker “Colors Of The Twilight” that sounds like a get-together of Rainbow's “Lady Starstruck”, The Scorpion's “The Zoo” and Savage Grace's “Fear My Way”! The “Codex Metalum” album is a riff / guitar based affair with the (almost Thrash like) guitars heavily mixed in and the drums a bit lost in the overall sound. No blistering solo-action here but nice altogether with a good lot of cool, harmonized melodies throughout the set. The vocalage sounds quite unusual at first glance, and most evidently down opening track “Apocalypse Or Theater” sporting a level tone, talk-type voice, with a higher, upper mid-range pitch down the refrain. The vocals do not really cut it in key control and delivery, but do shape up as the disc furthers and the pitch is up. Given that Maria's voice is quite a distinctive one, it may not be to everyone's liking gauging its imperfections, and those weird, helium type effects down “Sacred Anger” Putting it all together, Rampart's “Codex Metalum” is a fairly decent set of sticky songs played in the old-school Metal tradition.
Paul van der Burght
THE SATANIC FLEA MARKET 'The Rites Of Spring'
London April 10 / 2016 
The 'Rites Of Spring' edition of the Satanic Flea Market was another successful gathering of traders, artists and hundreds of fans into anything Occult, Satanic or related. Over three floors, the Bethnal Green Working Men's Club was packed out with stalls of all sorts; taxidermy, Tarot cards & readings, vintage & bespoke Satanic collectibles, vinyl records, Occult books, Underground publishers, Witchy vintage fashions, bric-a-brac and more. A brilliant event and a great atmosphere.
Info: https://www.facebook.com/events/1680049558947625/ |
Above: Oorganiser Jason Atomic
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LEOPARD MACHINE- CD 2016 “Ride Of The Enforcer”
web: https://www.facebook.com/weareleopard/?fref=ts
Traditional, 80's styled Euro / German Metal / SpeedMetal with upper-mid range falsetto vocals and unsteady high pitched yells. Catchy stuff, yell along refrains and lots of propelling rhythm riffage. Think a mix of Gravedigger, Living Death and Judas Priest. The production is trebly and thin, complimenting the low-budget feel and appearance of this thing, exactly how it was done back in the day. Material is largely riff oriented and fast paced, with slower, Metal minded moments in the shape of the Exciter cover “Die In The Night”, and Hard And Wild”. This is uncompromising, unpretentious and unpolished SpeedMetal, not all too perfect but that is a thing that just adds this 80's charm to it. Comes complete with all-out retro Metal cover image.
Paul van der Burght
web: https://www.facebook.com/weareleopard/?fref=ts
Traditional, 80's styled Euro / German Metal / SpeedMetal with upper-mid range falsetto vocals and unsteady high pitched yells. Catchy stuff, yell along refrains and lots of propelling rhythm riffage. Think a mix of Gravedigger, Living Death and Judas Priest. The production is trebly and thin, complimenting the low-budget feel and appearance of this thing, exactly how it was done back in the day. Material is largely riff oriented and fast paced, with slower, Metal minded moments in the shape of the Exciter cover “Die In The Night”, and Hard And Wild”. This is uncompromising, unpretentious and unpolished SpeedMetal, not all too perfect but that is a thing that just adds this 80's charm to it. Comes complete with all-out retro Metal cover image.
Paul van der Burght
WOODCUT records
web: http://www.woodcutrecords.com/
Woodcut records is a Finland based underground label and mailorder founded in '95. The main focus of Woodcut records is on Black and DeathMetal from Finland.
web: http://www.woodcutrecords.com/
Woodcut records is a Finland based underground label and mailorder founded in '95. The main focus of Woodcut records is on Black and DeathMetal from Finland.
TRAUMA – CD 2015 “Rapture And Wrath”
label: Pure Steel records www.puresteel-records.com
songs: Heart Of Stone / When I Die / The Long Way Home / Pain / The Walking Dead / Kingdome Come / Egypt / Under The Lights / Don't Tread On Me / Too Late /
web: www.traumametal.com/ www.facebook.com/pages/TraumaUSA/492674517461929
It has been over 30 years since U.S. Metalers Trauma released their “Scratch And Scream” LP that somehow moved under the radars of recognition even though its concept blended in really well with the then Metal trends, showcasing some European mould U.S. Metal. The re-issue of “Scratch And Scream” ignited the come-back of Trauma with two of its original members, drummer Kris Gustofson and singer Donny Hillier. “Rapture And Wrath” has fragments of the Trauma material of the old days but is a completely different record with the distinctive vocalage of Donny as the one common factor, alongside the straight-forward programming of the songs. Whereas “Scratch And Scream” had more of a 'light' format and driven feel, the new album seems to have adopted a darker, atmospheric vibe, partnering with a more HardRock oriented approach in the 90's styles. This is evidenced on the slow, dramatic sphered “Egypt”, the moderately paced pounder “Don't Tread On Me”, and the slow grinding, all 90's fashioned “The Walking Dead”. The repeat-riffed, up-tempo tracks “Under The Lights” and “”Heart Of Stone” recall the NWOBHM thing early US.Metal style, whilst the PowerMetal sound is pushed forward on the double-bass drummed up-tempo “When I Die”, the mid-tempo driven Judas Priest-meets-Queensryche tinged “Kingdom Come”and the twofold-paced “Under The Lights”. The click with Queensryche comes resurfacing down the atmospheric laden “Pain” that somehow reminds of “The Lady Wore Black” by the aforementioned. And that is not where the similarities end as the melodic laden, mid-to-upper range vocals of singer Donny Hillier move somewhere in between Geoff Tate (Queensryche), Katon DePena (demo era) and Bruce Dickinson (Maiden). So, basically there's no level set approach concept wise bordering in between the 80's and the 90's, HardRock, Metal and PowerMetal with an occasional twist towards the atmospheric thing which kind of takes away the identity or character of the album as a whole. This is an O.K affair but it does not match up to the impact and sound of “Scratch And Scream”.
Paul van der Burght
label: Pure Steel records www.puresteel-records.com
songs: Heart Of Stone / When I Die / The Long Way Home / Pain / The Walking Dead / Kingdome Come / Egypt / Under The Lights / Don't Tread On Me / Too Late /
web: www.traumametal.com/ www.facebook.com/pages/TraumaUSA/492674517461929
It has been over 30 years since U.S. Metalers Trauma released their “Scratch And Scream” LP that somehow moved under the radars of recognition even though its concept blended in really well with the then Metal trends, showcasing some European mould U.S. Metal. The re-issue of “Scratch And Scream” ignited the come-back of Trauma with two of its original members, drummer Kris Gustofson and singer Donny Hillier. “Rapture And Wrath” has fragments of the Trauma material of the old days but is a completely different record with the distinctive vocalage of Donny as the one common factor, alongside the straight-forward programming of the songs. Whereas “Scratch And Scream” had more of a 'light' format and driven feel, the new album seems to have adopted a darker, atmospheric vibe, partnering with a more HardRock oriented approach in the 90's styles. This is evidenced on the slow, dramatic sphered “Egypt”, the moderately paced pounder “Don't Tread On Me”, and the slow grinding, all 90's fashioned “The Walking Dead”. The repeat-riffed, up-tempo tracks “Under The Lights” and “”Heart Of Stone” recall the NWOBHM thing early US.Metal style, whilst the PowerMetal sound is pushed forward on the double-bass drummed up-tempo “When I Die”, the mid-tempo driven Judas Priest-meets-Queensryche tinged “Kingdom Come”and the twofold-paced “Under The Lights”. The click with Queensryche comes resurfacing down the atmospheric laden “Pain” that somehow reminds of “The Lady Wore Black” by the aforementioned. And that is not where the similarities end as the melodic laden, mid-to-upper range vocals of singer Donny Hillier move somewhere in between Geoff Tate (Queensryche), Katon DePena (demo era) and Bruce Dickinson (Maiden). So, basically there's no level set approach concept wise bordering in between the 80's and the 90's, HardRock, Metal and PowerMetal with an occasional twist towards the atmospheric thing which kind of takes away the identity or character of the album as a whole. This is an O.K affair but it does not match up to the impact and sound of “Scratch And Scream”.
Paul van der Burght
VALYRIA – CD single 2016 “Steel Inquisition”
label: private
songs: Steel Inquisition
web: www.facebook.com/ValyrianSteelCanada
Newest, self-released offering by this Canadian act that materialized their first work in 2014 in the shape of the “Collatus” private-press 6-songer. Tagged as 'Power-infused Progressive Death Metal', and sourced from bands such as The Faceless, DragonForce and Wintersun, the band lays down a brand of bombastic, Gothic sphered Nu Metal with a symphonic feel plus present-style melodic PowerMetal guitars and 2 toned vocalage including regular pitch chants and gurgling grunts. ”Steel Inquisition” clocks in over 6 minutes and is crammed with timing and melody changes, layers of synths and superb, rhythmic drummage courtesy of Mitchell Stykalo. As far as the DeathMetal tag concerns, it is not in effect in the sense of the word, apart from the occasional gruntage. Overall, “Steel Inquisition” is more of a Modern Metal affair that is in-depth, technical and fairly dominated by the atmospheric synthesizer. This thing could have sounded way heavier with a more bare-bones production and less synths, but then again, it is the Progressive aimed appearance that goes against this. Valyria clearly are a band with abilities and musical-wise this is a clockwork performance. Genre-wise, this is a hard nut to crack, as it may be too heavy for the Progressive Metal thing and too modern and mild for the DeathMetal genre......
Paul van der Burght
label: private
songs: Steel Inquisition
web: www.facebook.com/ValyrianSteelCanada
Newest, self-released offering by this Canadian act that materialized their first work in 2014 in the shape of the “Collatus” private-press 6-songer. Tagged as 'Power-infused Progressive Death Metal', and sourced from bands such as The Faceless, DragonForce and Wintersun, the band lays down a brand of bombastic, Gothic sphered Nu Metal with a symphonic feel plus present-style melodic PowerMetal guitars and 2 toned vocalage including regular pitch chants and gurgling grunts. ”Steel Inquisition” clocks in over 6 minutes and is crammed with timing and melody changes, layers of synths and superb, rhythmic drummage courtesy of Mitchell Stykalo. As far as the DeathMetal tag concerns, it is not in effect in the sense of the word, apart from the occasional gruntage. Overall, “Steel Inquisition” is more of a Modern Metal affair that is in-depth, technical and fairly dominated by the atmospheric synthesizer. This thing could have sounded way heavier with a more bare-bones production and less synths, but then again, it is the Progressive aimed appearance that goes against this. Valyria clearly are a band with abilities and musical-wise this is a clockwork performance. Genre-wise, this is a hard nut to crack, as it may be too heavy for the Progressive Metal thing and too modern and mild for the DeathMetal genre......
Paul van der Burght
BLOOD HARVEST records 'Only Vinyl Is Real'
web: www.bloodharvest.se
Blood Harvest records is a Sweden based Independent record label and mailorder geared towards Death / Black / Thrash Metal with a focus on vinyl releases. Blood Harvest records... 'only vinyl is real...'.
web: www.bloodharvest.se
Blood Harvest records is a Sweden based Independent record label and mailorder geared towards Death / Black / Thrash Metal with a focus on vinyl releases. Blood Harvest records... 'only vinyl is real...'.
MOTHER FEATHER
New York Retro Rockers release new song and video
New York Retro Rockers release new song and video
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Five piece unit Mother Feather from Brooklyn, New York have released the title track from their full length debut, “Mother Feather” The song is available now on iTunes, and the video (which was directed, designed and animated by Isaiah King) is streaming at http://metalblade.com/motherfeather/ Vocalist Ann Courtney describes the video and song: "Mother Feather is the embodiment of your wildest inspiration. We are missionaries of pop cock rock and "Mother Feather" is our hymn”. The self-described 'pop cock rock' band has been building a loyal following in the late night New York rock scene and their debut on Metal Blade records is currently being finalized for an early 2016 release, featuring two new tracks combined with re-mastered versions of the band's previously released recordings, the “Mother Feather” EP (2011) and the “Living Breathing” EP (2013). Mother Feather is: Ann Courtney – Vocals / Elizabeth Carena - Vocals & Keyboards / Matt Basile – Bass / Chris Foley – Guitar / Gunnar Olsen – Drums. Mother Feather deliver a potent mix of The classic New York Underground sounds, Post-Punk, Brit Pop and 70's Drag And Roll, dressed with female vocal harmonies and an Alternative vibe.
Additional band info @: http://www.motherfeather.com https://www.facebook.com/motherfeather
Mother Feather's self-titled debut will be released on Metal Blade on May 6, 2016
Additional band info @: http://www.motherfeather.com https://www.facebook.com/motherfeather
Mother Feather's self-titled debut will be released on Metal Blade on May 6, 2016
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Above left and right: Model Anita De Bauch. Photos by Paul Muir / Artpunk. Outfits by Pandora Deluxe latex.
ANITA DE BAUCH
web: http://www.anitadebauch.com https://www.facebook.com/AnitaDeBauch/
Anita De Bauch is a U.K based, international Fetish Fashionista, Nude Model and Pin-Up that has graced films, books, magazines, stages and exhibitions around the globe. She is a fully formed, self-styled character, effortlessly blending cutting edge fashion with art, glamour and a timeless elegance. Anita has modelled for top brands in Latex Couture and Alternative Fashion, and worked with high calibre photographers doing shoots that range from Artistic Nude to one of her favourite styles, Vintage glamour. Anita started her career in 2006 and has meanwhile become a highly acclaimed Model favoured by some of the leading Alternative and Fetish publications. Diverse, dynamic, and always distinctive... She is Anita De Bauch.
The creative side of Anita also finds expression in writing, as she is the author of the “Ugly" Girl's Guide to Modelling: No Agency? No Problem!, which is published by New Haven and available here: http://www.amazon.co.uk/dp/0957517092/
photographer:
Paul Muir / Artpunk http://www.artpunk.com/
web: http://www.anitadebauch.com https://www.facebook.com/AnitaDeBauch/
Anita De Bauch is a U.K based, international Fetish Fashionista, Nude Model and Pin-Up that has graced films, books, magazines, stages and exhibitions around the globe. She is a fully formed, self-styled character, effortlessly blending cutting edge fashion with art, glamour and a timeless elegance. Anita has modelled for top brands in Latex Couture and Alternative Fashion, and worked with high calibre photographers doing shoots that range from Artistic Nude to one of her favourite styles, Vintage glamour. Anita started her career in 2006 and has meanwhile become a highly acclaimed Model favoured by some of the leading Alternative and Fetish publications. Diverse, dynamic, and always distinctive... She is Anita De Bauch.
The creative side of Anita also finds expression in writing, as she is the author of the “Ugly" Girl's Guide to Modelling: No Agency? No Problem!, which is published by New Haven and available here: http://www.amazon.co.uk/dp/0957517092/
photographer:
Paul Muir / Artpunk http://www.artpunk.com/
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DEVOLUTION Magazine
web: https://www.facebook.com/DevolutionMag/?fref=ts http://www.devolutionmagazine.co.uk/
Devolution Magazine is an independent, U.K based Alternative lifestyle magazine with a true Underground / fanzine attitude that is supportive to the Alternative subculture and those involved. As such, Devolution magazine covers just about anything and anyone related, including Alternative music, artists and bands, Dark art, Fashion, Culture, Tattoos, Burlesque, Models, Photography, Lifestyle and more... Music-wise, Devolution is mainly geared towards but not limited to Metal, Punk, Goth and Rock, including demo, album and live reviews alongside interviews and features. Devolution Magazine is now in its tenth year, and morphed from a photocopied zine to a glossy, full format magazine that is well established in the Alternative scene. Devolution also has a on-line shop with a range of Devolution merch, including t-shirts, hoodies, tote-bags, and current / back issues of Devolution magazine.
web: https://www.facebook.com/DevolutionMag/?fref=ts http://www.devolutionmagazine.co.uk/
Devolution Magazine is an independent, U.K based Alternative lifestyle magazine with a true Underground / fanzine attitude that is supportive to the Alternative subculture and those involved. As such, Devolution magazine covers just about anything and anyone related, including Alternative music, artists and bands, Dark art, Fashion, Culture, Tattoos, Burlesque, Models, Photography, Lifestyle and more... Music-wise, Devolution is mainly geared towards but not limited to Metal, Punk, Goth and Rock, including demo, album and live reviews alongside interviews and features. Devolution Magazine is now in its tenth year, and morphed from a photocopied zine to a glossy, full format magazine that is well established in the Alternative scene. Devolution also has a on-line shop with a range of Devolution merch, including t-shirts, hoodies, tote-bags, and current / back issues of Devolution magazine.
SILENT LINE – CD 2015 “Shattered Shores”
label: private
songs: Frost Of The Night / Erosion / Black And White / Shattered Shores pt.I: Timeless Night / Summersong / Starfall / Shattered Shores pt.II: A New Beginning / Into The Chasm / The Faceless Shadow / Embrace The End //
web: http://www.silentlineofficial.com/
Newest and third independently released album by this Canadian act, sporting an in-depth, modern-format mix of Nu Metalcore, PowerMetal, melodic Death / BlackMetal and Goth. With that also comes a considerable Folk element, spotlighted on “Frost Of The Night” and “Shattered Shores pt.II”. Material is mostly synths / guitar oriented and it is these two elements that secure most of its versatility. Backed with a galloping drive, the application of melodic guitar melodies give the material this PowerMetal swing, as evidenced on “Erosion”, “Black And White” and “Starfall”. Singer Mat Massinon performs in a gruff and raspy, talk type manner (“Frost Of The Night”, “Summersong”, “Embrace The End” with some deeper style gruntage laid down on “”Erosion” and “Black And White”. The synths are the one factor that highlight the Gothic mood that surrounds the music with some orchestral like modes on “Shattered Shores pt.I”, alongside its Nu features and (level tone) vocalage. Most atmospheric-laden tracks of the set are “Frost Of The Night” and the dramatic Goth-balladry of “Summersong” partnering with Folk-ish vocal modes to contrast with the blast-drummed and rasp grunted BlackMetal hooks. Overall, material sticks together very well with “Shattered Shores pt.II” as the structural tour-de-force. It is difficult to define which direction the band is going musical wise with a palette this diverse but this may not be an obstacle for those that dig the modern format Metal of the heavier sort. Solid.
Paul van der Burght
label: private
songs: Frost Of The Night / Erosion / Black And White / Shattered Shores pt.I: Timeless Night / Summersong / Starfall / Shattered Shores pt.II: A New Beginning / Into The Chasm / The Faceless Shadow / Embrace The End //
web: http://www.silentlineofficial.com/
Newest and third independently released album by this Canadian act, sporting an in-depth, modern-format mix of Nu Metalcore, PowerMetal, melodic Death / BlackMetal and Goth. With that also comes a considerable Folk element, spotlighted on “Frost Of The Night” and “Shattered Shores pt.II”. Material is mostly synths / guitar oriented and it is these two elements that secure most of its versatility. Backed with a galloping drive, the application of melodic guitar melodies give the material this PowerMetal swing, as evidenced on “Erosion”, “Black And White” and “Starfall”. Singer Mat Massinon performs in a gruff and raspy, talk type manner (“Frost Of The Night”, “Summersong”, “Embrace The End” with some deeper style gruntage laid down on “”Erosion” and “Black And White”. The synths are the one factor that highlight the Gothic mood that surrounds the music with some orchestral like modes on “Shattered Shores pt.I”, alongside its Nu features and (level tone) vocalage. Most atmospheric-laden tracks of the set are “Frost Of The Night” and the dramatic Goth-balladry of “Summersong” partnering with Folk-ish vocal modes to contrast with the blast-drummed and rasp grunted BlackMetal hooks. Overall, material sticks together very well with “Shattered Shores pt.II” as the structural tour-de-force. It is difficult to define which direction the band is going musical wise with a palette this diverse but this may not be an obstacle for those that dig the modern format Metal of the heavier sort. Solid.
Paul van der Burght
DIMINO – CD 2015 “Old Habits Die Hard”
Label: Frontiers
songs: Never Again / Rockin' In The City / I Can't Stop Loving You / The Rain's About To Fall / Even Now / Tears Will Fall / Mad As Hell / Sweet Sensation / Tonight's The Night / The Quest / Stones By The River //
web: www.FrankDiMino.com
Formerly of Angel, singer Frank Dimino has a proven record of excellence, and is now carving out a career as a solo-artist with “Old Habits Die Hard” as the premier performance. The Angel sound clearly is a thing of the past as there's little to no trace of the aforementioned and the synths that dominated the 'old' concept have now been replaced by Hammond, pushed forward on “Never Again”, “Rockin' In The City” and “Tears Will Fall”. Also, Dimino's voice has gotten more deep and soulful with a good vibrato to back it up. Musically, the concept harks back to the old-school / 70's HardRock sound that gels with Uriah Heep on more than one occasion and with a crisp, raised vocal pitch to match. The set features 2 ballads (a soppy one, “Even Now”, and a Bluesy one, “Stones By The River”) and 2 traditional type Headbangers; “Mad As Hell” and “The Quest” at the other end of the spectrum. In between that is room for a good lot of moderately / mid-paced Rockers with the tempo slowing further down on the pounding “Tears Will Fall” and the sludgy “I Can't Stop Loving You”, and upped a bit on the groove-laden “Rockin' In The City”. “Old Habits Die Hard” is a nice collection of tunes, maybe a bit low risk in appearance but with a more than sufficient diversity flow concept-wise. Entertaining!
Paul van der Burght
Label: Frontiers
songs: Never Again / Rockin' In The City / I Can't Stop Loving You / The Rain's About To Fall / Even Now / Tears Will Fall / Mad As Hell / Sweet Sensation / Tonight's The Night / The Quest / Stones By The River //
web: www.FrankDiMino.com
Formerly of Angel, singer Frank Dimino has a proven record of excellence, and is now carving out a career as a solo-artist with “Old Habits Die Hard” as the premier performance. The Angel sound clearly is a thing of the past as there's little to no trace of the aforementioned and the synths that dominated the 'old' concept have now been replaced by Hammond, pushed forward on “Never Again”, “Rockin' In The City” and “Tears Will Fall”. Also, Dimino's voice has gotten more deep and soulful with a good vibrato to back it up. Musically, the concept harks back to the old-school / 70's HardRock sound that gels with Uriah Heep on more than one occasion and with a crisp, raised vocal pitch to match. The set features 2 ballads (a soppy one, “Even Now”, and a Bluesy one, “Stones By The River”) and 2 traditional type Headbangers; “Mad As Hell” and “The Quest” at the other end of the spectrum. In between that is room for a good lot of moderately / mid-paced Rockers with the tempo slowing further down on the pounding “Tears Will Fall” and the sludgy “I Can't Stop Loving You”, and upped a bit on the groove-laden “Rockin' In The City”. “Old Habits Die Hard” is a nice collection of tunes, maybe a bit low risk in appearance but with a more than sufficient diversity flow concept-wise. Entertaining!
Paul van der Burght
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SPLIT HEAVEN – CD 2016 “Death Rider”
label: Pure Steel records
songs: Death Rider / Awaken The Tyrant / Battle Axe / To The Fallen / Speed Of The Hawk / Ghost Of Desire / Sacrifice / Talking With The Devil / Descarga Letal / Destructor //
web: www.splitheaven.net
Mexican Metalers Split Heaven are back in full force since their last release, “The Devil's Bandit”. The band hooked up with new frontman Jason Conde-Houston (formerly of Skelator) to record their new album ”Death Rider” that breathes Metal from start to finish. The vocalage of Jason gels perfectly with the riff-based themes and concept that walk the fine line between 80's U.S. Metal and PowerMetal. Opening tune “DeathRider testifies to this, rolling on an alternating fast / mid-paced, double-bass drummed drive and riffage tandem that somewhat reminds of early Anthrax. The moderately / mid-paced Metaler “Awaken The Tyrant” sports a riff-base that gives the song a certain HardRock edge whilst the vocals operate in a Queensryche-like fashion, splashing the song with a melodic finish. The Queensryche thing is also evident halfway down “To The Fallen” that is dressed with some Epic twists. Jason Conde-Houston delivers the goods throughout the disc with a good differentiation in pitch and appearance to accommodate the nature / atmosphere of the songs. His voice is PowerMetal by all means; beefy and narrative like (a la James Rivera / Helstar) with some strong, upper-range peaks and a solid vibrato. Material is driven by a lot of energetic double-bass drummage and features some great, rhythmic layers. Guitarwork is entirely in 80's Metal tradition with plenty of harmonies in the Maiden styles. Songs are mainly moderately / mid-paced with accelerations in the shape of the Headbanger “DeathRider”, the Powerlord / Savage Grace fused speedster “Sacrifice”, and the upbeat, Judas Priest-meets-Maiden like “Speed Of The Hawk” with its gripping refrain and riffage. Nice twist in concept is the inclusion of 2 native tongue, Mexian sung tracks; the driven 80's Metaler “Desarga Letal” and the HardRock riffed “Destructor”. This is one very complete and entertaining album played in the 80's Us Metal / PowerMetal tradition. Solid!
Paul van der Burght
SPLIT HEAVEN interview with singer Jason Conde-Houston and drummer Tomas Roitman
Would you consider “Death Rider” your strongest effort to date?
Tomas Roitman: Definitely yes haha. We are proud of every release and they're part of our history now but I've never felt so satisfied with an album like with Death Rider, and I think I can speak for all the guys too. All things were made without a rush and we all enjoyed the process of composing music, meeting Jason and of course drinking a lot of beers & tequila. It was hard work equilibrated with party, having in mind that we had to deliver a fucking solid piece of heavy metal. With all the line up changes, I think we're finally well stablished. The band works in a very professional level now, we all know what we have to do and our roles inside the group. Obviously this is because we're not kids anymore haha, welcome to the 30's!
Jason, how did you team up with Split Heaven?
Jason Conde-Houston: I came into the fold after being a fan for many years. Upon hearing that they needed a singer for the second time I replied to their post on FB and said I wish I could do it but it seems impossible. Immediately Tomas sent me a message saying that they don't mind having a singer in the US. For a few reasons, one they want more connections in the States, and two, they wanted a singer that can actually sing in English with conviction and understanding of the language. Lastly since I am half Mexican and speak fluent Spanish I can still deliver the goods in their native tongue so we will have no problems touring in Latin America and Spain.So, in June of 2015 I flew down to Querétaro and spent two weeks down there recording the vocals for Death Rider, did a photo shoot and shot the video for Speed of the Hawk. Obviously we partied pretty hard too. It was a mega blast and I learned a lot.
How is the Metal scene like in Mexico; is there a strong following and is it traditional geared?
Tomas Roitman: Lately, we are having a lot of big festivals with international bands coming... but I hate to be honest. A lot of posers that YOU NEVER see in your shows because they hate your music even if they don't have an idea of who you are is just the fact that you're Mexican, sad but true! You always have the local shows but it's mostly the same; people not buying your stuff and not wanting to pay the cover. That's why we prefer to stay out of focus and go to play outside our country, sometimes we have cool invitations in Mexico that we accept, but this happens maybe two or three times in three years haha. The reality for us is to play elsewhere, maybe we become a cult band in 10 years here, I don't know. And don't get me wrong, we love to play in Mexico but there simply ain't much support for national bands.
Tuning into the music, there's quite a strong Maiden taste in the riff department...
Jason Conde-Houston: There better be! I mean if they didn't have that aspect I wouldn't have been a part of this band. But really, I'd say that this album lends itself more toward Riot's Thundersteel album or modern era Grave Digger.
Tomas Roitman: Haha, well I agree with you, specially on “Battle Axe”. Obviously Maiden is a big influence for us, they're gods in every aspect hahaha. I must say sometimes it's more like Judas Priest or Riot, just because of the speed!
With so many bands now playing in the traditional styles, do you think it will oversaturate as it did back in the mid 80's with a lot of quality bands moving under the radars of recognition as such?
Jason Conde-Houston: I think it's already over saturated as it is, just like the Neo-Thrash movement in the mid 2000's. But that's how the music scene works, only the best bands that play from the heart will continue.
Tomas Roitman: I agree, but there ain't much quality out there. Sometimes I do not understand how certain bands obtain a lot of success and support, but I have learned to give a fuck and continue making what we enjoy and this is: making Heavy Metal coming from our Metal Hearts!
What's in store for the near future?
Tomas Roitman: Well, I'm already booking shows for a European Tour in march 2017 along with Power Metalers Custard from Germany. We have two confirmed festivals in Germany and one more close to be confirmed so we're starting to get proposals for gigs near that area. It would be amazing to play in the UK but I don't know many promoters there haha, so if anyone should know any that might be interested please let us know! :D We want to record something too, so we can sell a mini EP on this tour, but we have to plan it right. Many thanks for the interview and review, heavy metal is the law!
label: Pure Steel records
songs: Death Rider / Awaken The Tyrant / Battle Axe / To The Fallen / Speed Of The Hawk / Ghost Of Desire / Sacrifice / Talking With The Devil / Descarga Letal / Destructor //
web: www.splitheaven.net
Mexican Metalers Split Heaven are back in full force since their last release, “The Devil's Bandit”. The band hooked up with new frontman Jason Conde-Houston (formerly of Skelator) to record their new album ”Death Rider” that breathes Metal from start to finish. The vocalage of Jason gels perfectly with the riff-based themes and concept that walk the fine line between 80's U.S. Metal and PowerMetal. Opening tune “DeathRider testifies to this, rolling on an alternating fast / mid-paced, double-bass drummed drive and riffage tandem that somewhat reminds of early Anthrax. The moderately / mid-paced Metaler “Awaken The Tyrant” sports a riff-base that gives the song a certain HardRock edge whilst the vocals operate in a Queensryche-like fashion, splashing the song with a melodic finish. The Queensryche thing is also evident halfway down “To The Fallen” that is dressed with some Epic twists. Jason Conde-Houston delivers the goods throughout the disc with a good differentiation in pitch and appearance to accommodate the nature / atmosphere of the songs. His voice is PowerMetal by all means; beefy and narrative like (a la James Rivera / Helstar) with some strong, upper-range peaks and a solid vibrato. Material is driven by a lot of energetic double-bass drummage and features some great, rhythmic layers. Guitarwork is entirely in 80's Metal tradition with plenty of harmonies in the Maiden styles. Songs are mainly moderately / mid-paced with accelerations in the shape of the Headbanger “DeathRider”, the Powerlord / Savage Grace fused speedster “Sacrifice”, and the upbeat, Judas Priest-meets-Maiden like “Speed Of The Hawk” with its gripping refrain and riffage. Nice twist in concept is the inclusion of 2 native tongue, Mexian sung tracks; the driven 80's Metaler “Desarga Letal” and the HardRock riffed “Destructor”. This is one very complete and entertaining album played in the 80's Us Metal / PowerMetal tradition. Solid!
Paul van der Burght
SPLIT HEAVEN interview with singer Jason Conde-Houston and drummer Tomas Roitman
Would you consider “Death Rider” your strongest effort to date?
Tomas Roitman: Definitely yes haha. We are proud of every release and they're part of our history now but I've never felt so satisfied with an album like with Death Rider, and I think I can speak for all the guys too. All things were made without a rush and we all enjoyed the process of composing music, meeting Jason and of course drinking a lot of beers & tequila. It was hard work equilibrated with party, having in mind that we had to deliver a fucking solid piece of heavy metal. With all the line up changes, I think we're finally well stablished. The band works in a very professional level now, we all know what we have to do and our roles inside the group. Obviously this is because we're not kids anymore haha, welcome to the 30's!
Jason, how did you team up with Split Heaven?
Jason Conde-Houston: I came into the fold after being a fan for many years. Upon hearing that they needed a singer for the second time I replied to their post on FB and said I wish I could do it but it seems impossible. Immediately Tomas sent me a message saying that they don't mind having a singer in the US. For a few reasons, one they want more connections in the States, and two, they wanted a singer that can actually sing in English with conviction and understanding of the language. Lastly since I am half Mexican and speak fluent Spanish I can still deliver the goods in their native tongue so we will have no problems touring in Latin America and Spain.So, in June of 2015 I flew down to Querétaro and spent two weeks down there recording the vocals for Death Rider, did a photo shoot and shot the video for Speed of the Hawk. Obviously we partied pretty hard too. It was a mega blast and I learned a lot.
How is the Metal scene like in Mexico; is there a strong following and is it traditional geared?
Tomas Roitman: Lately, we are having a lot of big festivals with international bands coming... but I hate to be honest. A lot of posers that YOU NEVER see in your shows because they hate your music even if they don't have an idea of who you are is just the fact that you're Mexican, sad but true! You always have the local shows but it's mostly the same; people not buying your stuff and not wanting to pay the cover. That's why we prefer to stay out of focus and go to play outside our country, sometimes we have cool invitations in Mexico that we accept, but this happens maybe two or three times in three years haha. The reality for us is to play elsewhere, maybe we become a cult band in 10 years here, I don't know. And don't get me wrong, we love to play in Mexico but there simply ain't much support for national bands.
Tuning into the music, there's quite a strong Maiden taste in the riff department...
Jason Conde-Houston: There better be! I mean if they didn't have that aspect I wouldn't have been a part of this band. But really, I'd say that this album lends itself more toward Riot's Thundersteel album or modern era Grave Digger.
Tomas Roitman: Haha, well I agree with you, specially on “Battle Axe”. Obviously Maiden is a big influence for us, they're gods in every aspect hahaha. I must say sometimes it's more like Judas Priest or Riot, just because of the speed!
With so many bands now playing in the traditional styles, do you think it will oversaturate as it did back in the mid 80's with a lot of quality bands moving under the radars of recognition as such?
Jason Conde-Houston: I think it's already over saturated as it is, just like the Neo-Thrash movement in the mid 2000's. But that's how the music scene works, only the best bands that play from the heart will continue.
Tomas Roitman: I agree, but there ain't much quality out there. Sometimes I do not understand how certain bands obtain a lot of success and support, but I have learned to give a fuck and continue making what we enjoy and this is: making Heavy Metal coming from our Metal Hearts!
What's in store for the near future?
Tomas Roitman: Well, I'm already booking shows for a European Tour in march 2017 along with Power Metalers Custard from Germany. We have two confirmed festivals in Germany and one more close to be confirmed so we're starting to get proposals for gigs near that area. It would be amazing to play in the UK but I don't know many promoters there haha, so if anyone should know any that might be interested please let us know! :D We want to record something too, so we can sell a mini EP on this tour, but we have to plan it right. Many thanks for the interview and review, heavy metal is the law!
LUZIFER – 7”EP 2015 “Rise”
label: private
songs: Luzifer Rise / Heavy Metal Tinnitus / Rites Of The Night //
web: https://www.facebook.com/LuziferHM/
“Rise” is the first offering by German act Luzifer, engaging some all out 80's Metal that crosses over to early Euro (Speed)Metal and HardRock. Even the names of its members carry forth the 80's Metal tradition, with 'Steeler' on vocals / bass and 'S. Genözider' on vocals / guitars and drums! “Luzifer Rise” opens the E.P with a NWOBHM styled riff and furthers in a true Scandinavian Metal fashion, merging HardRock with Metal over a NWOBHM backbone. The Scandinavian thing mainly comes off the guitar harmonies, atmosphere and vocalage, operating in a regular tone. As its title suggests “Heavy Metal Tinnitus” picks up speed and power, moving in a melodic (Speed)Metal / Headbang gear with a double-bass drummed drive and high raised vocals, adding this German 80's feel a la Gravedigger. The disc concludes with the mid-paced and riff-based “Rites Of The Night” that has Mercyful Fate written all over. This one mirrors MF Fate's “Black Funeral” at a large scale, and comes with a similar instrumentation and talked vocals with the higher pitches, Nothing wrong with duplicating a sound or a band as long as it is done properly and these guys nailed it here. Great E.P.
Paul van der Burght
label: private
songs: Luzifer Rise / Heavy Metal Tinnitus / Rites Of The Night //
web: https://www.facebook.com/LuziferHM/
“Rise” is the first offering by German act Luzifer, engaging some all out 80's Metal that crosses over to early Euro (Speed)Metal and HardRock. Even the names of its members carry forth the 80's Metal tradition, with 'Steeler' on vocals / bass and 'S. Genözider' on vocals / guitars and drums! “Luzifer Rise” opens the E.P with a NWOBHM styled riff and furthers in a true Scandinavian Metal fashion, merging HardRock with Metal over a NWOBHM backbone. The Scandinavian thing mainly comes off the guitar harmonies, atmosphere and vocalage, operating in a regular tone. As its title suggests “Heavy Metal Tinnitus” picks up speed and power, moving in a melodic (Speed)Metal / Headbang gear with a double-bass drummed drive and high raised vocals, adding this German 80's feel a la Gravedigger. The disc concludes with the mid-paced and riff-based “Rites Of The Night” that has Mercyful Fate written all over. This one mirrors MF Fate's “Black Funeral” at a large scale, and comes with a similar instrumentation and talked vocals with the higher pitches, Nothing wrong with duplicating a sound or a band as long as it is done properly and these guys nailed it here. Great E.P.
Paul van der Burght
PILE OF PRIESTS – CD 2015 “Void To Enlightenment”
label:private
songs: Void To Enlightenment / Deranged Youth Succession / Torture Chamber / Templars Of Sodomy / Maleficent / Akeru / The Tribulation / Incantations Of Old //
web: https://www.facebook.com/pileofpriests
Denver based Deathsters that first emerged with the 2009 “Burn” demo, followed by the “Unholy Death” EP, and more recently, their debut full-lengther “Void To Enlightenment”. Pile Of Priests sticker their thing as Progressive DeathMetal and that is exactly what it is, harking back at the 90's Tampa DeathMetal sound. This comes complete with slow, talk type gruntage, Thrashy riffs, and a mix of blast beats and double-bass drummed sections. What further reminds of the Tampa sound is the technical / Progressive element, that is taken to the max on the instrumental “Deranged Youth Succession”. There's a good lot of virtuoso guitar chops found on the disc with some cool sweep picking featured on “Akeru”. Pile Of Priests occasionally tends towards the 90's Swedish DeathMetal sound in both production (deep and full sounding) and appearance, as spotlighted on “Maleficent,” and also through the use of high-low and reversed riffage. The material is far from static and the tempo goes through a whole spectrum of drives and beats; from mid-paced (with double-bass drums running underneath) to blast beats to fuel the accelerated chops. “Void To Enlightenment” is one solid DeathMetal affair that sounds as if it came straight out of the 90's! Well worth checking out.
Paul van der Burght
label:private
songs: Void To Enlightenment / Deranged Youth Succession / Torture Chamber / Templars Of Sodomy / Maleficent / Akeru / The Tribulation / Incantations Of Old //
web: https://www.facebook.com/pileofpriests
Denver based Deathsters that first emerged with the 2009 “Burn” demo, followed by the “Unholy Death” EP, and more recently, their debut full-lengther “Void To Enlightenment”. Pile Of Priests sticker their thing as Progressive DeathMetal and that is exactly what it is, harking back at the 90's Tampa DeathMetal sound. This comes complete with slow, talk type gruntage, Thrashy riffs, and a mix of blast beats and double-bass drummed sections. What further reminds of the Tampa sound is the technical / Progressive element, that is taken to the max on the instrumental “Deranged Youth Succession”. There's a good lot of virtuoso guitar chops found on the disc with some cool sweep picking featured on “Akeru”. Pile Of Priests occasionally tends towards the 90's Swedish DeathMetal sound in both production (deep and full sounding) and appearance, as spotlighted on “Maleficent,” and also through the use of high-low and reversed riffage. The material is far from static and the tempo goes through a whole spectrum of drives and beats; from mid-paced (with double-bass drums running underneath) to blast beats to fuel the accelerated chops. “Void To Enlightenment” is one solid DeathMetal affair that sounds as if it came straight out of the 90's! Well worth checking out.
Paul van der Burght
MURASHITA – CD EP 2015 “Inescapable Damnation”
label: private
songs: Retribution / Inescapable Damnation / Death Or Glory / Conquer The Foe / The Show Must Go On //
web: www.masakimurashita.com
First solo- release by singer, songwriter and guitarist Masaki Murashita who previously showcased his vocal and instrumental talents with Modern Thrash act Hemoptysis. Under the banner of Murashita, Mr. Masaki stuck to the Thrash thing but ditched the Modern sound and replaced it with elements of BlackMetal and regular Metal. The click with BlackMetal – even though Mr. Masaki rather stickers it as Modern Metal – is, in essence the talked vocal style, delivering this raised and raspy gasp voice. In addition, there's the occasional BlackMetal guitar hooks as on “Retribution”, and the atmospheric “Death Or Glory”, partnering BlackMetal with Metal, complete with balanced, melodic laden solo action. The Thrash element is constant as it mainly settles in the riff-department, and even hits some connections with Annihilator's “Alice In Hell” on more than on occasion, and most evidently on the fast-slow-fast Thrasher “This Show Must Go On”. Fastest pick of the bunch is “Conquer The Foe”, but again, alternated with slower passages. The guitar simply dominates the EP but more in terms of riffage than solo-action. In all, “Inescapable Damnation” is an energetic Thrash offering with an extreme edge that is nicely balanced out by the melody guitar solos. Nice.
Paul van der Burght
label: private
songs: Retribution / Inescapable Damnation / Death Or Glory / Conquer The Foe / The Show Must Go On //
web: www.masakimurashita.com
First solo- release by singer, songwriter and guitarist Masaki Murashita who previously showcased his vocal and instrumental talents with Modern Thrash act Hemoptysis. Under the banner of Murashita, Mr. Masaki stuck to the Thrash thing but ditched the Modern sound and replaced it with elements of BlackMetal and regular Metal. The click with BlackMetal – even though Mr. Masaki rather stickers it as Modern Metal – is, in essence the talked vocal style, delivering this raised and raspy gasp voice. In addition, there's the occasional BlackMetal guitar hooks as on “Retribution”, and the atmospheric “Death Or Glory”, partnering BlackMetal with Metal, complete with balanced, melodic laden solo action. The Thrash element is constant as it mainly settles in the riff-department, and even hits some connections with Annihilator's “Alice In Hell” on more than on occasion, and most evidently on the fast-slow-fast Thrasher “This Show Must Go On”. Fastest pick of the bunch is “Conquer The Foe”, but again, alternated with slower passages. The guitar simply dominates the EP but more in terms of riffage than solo-action. In all, “Inescapable Damnation” is an energetic Thrash offering with an extreme edge that is nicely balanced out by the melody guitar solos. Nice.
Paul van der Burght
LORDS OF BLACK – CD 2016 “II”
label: Frontiers records
songs: Malevolently Beautiful / Merciless / Only One Life Away / Everything You're Not / New World's Comin / Cry No More / Tears I Will Be / Insane / Live By The Lie, Die By The Truth / Ghost Of You / The Art Of Illusions Pt II; The Wasteland / Shadows Of War / Lady Of The Lake //
web: http://www.lordsofblack.com/
The start of the album, coupling the guitaristic intro “Malevolently Beautiful” with opening tune “Merciless” pretty much indicates what is on offer here; 80's inspired, melodic HardRock / Metal with shades of 90's Progressive Metal and a touch upon Mainstream Nu (Power) Metal. The vocal style and virtuoso, classical edged guitarwork have a strong resemblance to the Malmsteen – Joe Lynn Turner combo. The constant synths usage and key-note backing give the music a full appearance that is further complimented by the bass-drum / riff synchronisation and double-bass drum hooks that give certain modes this chunky appearance. Some nice power balladry comes in the shape of the Nu PowerMetal-meets-Dream Theater esque “Everything You're Not” and “Insane”. The symphonic element that lightly runs underneath the concept is pushed forward on the Nu-edged “New World's Comin'” and “Tears I Will Be” with a fair share of Mainstream Goth synths melodies. Main drive throughout is mid-tempo with faster double-bass drums and slower, thumping modes a la Dio which is the second click with Rainbow after the Joe Lynn Turner connection, both musically and vocally. So yes, the vocalage of frontman Ronnie Romero is top class, delivering a beefy, rough edged yet melodic voice that is layed down in a calm, almost spoken like manner. It may be due to the nature of the music or the production but the power-element of his voice that is there allright is kept rather tempered in appearance which complies with the Progressive side of the music in a textbook manner, but it would have given the music this little extra, roughening it up a bit with the vocals more prominently and louder in the mix. Musically, it all fits on “II”, with a spotlight performance by guitar-virtuoso Tony Hernando. Fans of the Symhonic Progressive (Power) Metal thing with a traditional backbone and a modern twist will not be disappointed.
Paul van der Burght
label: Frontiers records
songs: Malevolently Beautiful / Merciless / Only One Life Away / Everything You're Not / New World's Comin / Cry No More / Tears I Will Be / Insane / Live By The Lie, Die By The Truth / Ghost Of You / The Art Of Illusions Pt II; The Wasteland / Shadows Of War / Lady Of The Lake //
web: http://www.lordsofblack.com/
The start of the album, coupling the guitaristic intro “Malevolently Beautiful” with opening tune “Merciless” pretty much indicates what is on offer here; 80's inspired, melodic HardRock / Metal with shades of 90's Progressive Metal and a touch upon Mainstream Nu (Power) Metal. The vocal style and virtuoso, classical edged guitarwork have a strong resemblance to the Malmsteen – Joe Lynn Turner combo. The constant synths usage and key-note backing give the music a full appearance that is further complimented by the bass-drum / riff synchronisation and double-bass drum hooks that give certain modes this chunky appearance. Some nice power balladry comes in the shape of the Nu PowerMetal-meets-Dream Theater esque “Everything You're Not” and “Insane”. The symphonic element that lightly runs underneath the concept is pushed forward on the Nu-edged “New World's Comin'” and “Tears I Will Be” with a fair share of Mainstream Goth synths melodies. Main drive throughout is mid-tempo with faster double-bass drums and slower, thumping modes a la Dio which is the second click with Rainbow after the Joe Lynn Turner connection, both musically and vocally. So yes, the vocalage of frontman Ronnie Romero is top class, delivering a beefy, rough edged yet melodic voice that is layed down in a calm, almost spoken like manner. It may be due to the nature of the music or the production but the power-element of his voice that is there allright is kept rather tempered in appearance which complies with the Progressive side of the music in a textbook manner, but it would have given the music this little extra, roughening it up a bit with the vocals more prominently and louder in the mix. Musically, it all fits on “II”, with a spotlight performance by guitar-virtuoso Tony Hernando. Fans of the Symhonic Progressive (Power) Metal thing with a traditional backbone and a modern twist will not be disappointed.
Paul van der Burght
HUNTER & THE BEAR – 'Renegade'
label: Dog Monday records
web:http://hunterandthebear.co.uk/
Landing a slot as a support act for Eric Clapton without even having an album out must mean something. It all becomes evident tuning into their new single “Renegade”; an driven, up-tempo track that sports the feel and straight forward groove a la Tom Petty, dressed with the warm vocalage of singer / guitarist Will. It exactly is this honest, stripped bare performance that further ups the game of Hunter & The Bear, generating a sound that just breathes Rock the way it was meant to be. Keep an eye on Hunter & The Bear, an inspiring band that is very likely make their claim to fame as soon as their 2017 debut album hits the scene, as they are already halfway there.
Paul van der Burght
label: Dog Monday records
web:http://hunterandthebear.co.uk/
Landing a slot as a support act for Eric Clapton without even having an album out must mean something. It all becomes evident tuning into their new single “Renegade”; an driven, up-tempo track that sports the feel and straight forward groove a la Tom Petty, dressed with the warm vocalage of singer / guitarist Will. It exactly is this honest, stripped bare performance that further ups the game of Hunter & The Bear, generating a sound that just breathes Rock the way it was meant to be. Keep an eye on Hunter & The Bear, an inspiring band that is very likely make their claim to fame as soon as their 2017 debut album hits the scene, as they are already halfway there.
Paul van der Burght
GRENOUER – CD 2015 “Unwanted Today”
label: Mausoleum www.mausoleum-records.net
songs: Awake / Unwanted Today / A Little Too Obsessed / Something Really Bad / On A Rainy Day / Blossoms In The Dust / I Can't Stand It / Daily Miracles / Going To Stay / Point Of No Return / Artificial Tears / Don't Let Them (Get You Down) / Clearway //
web: www.grenouer.com
Evolving from the 90's extreme Metal scene, Russian act Grenouer lowered the intensity levels of their concept, addressing to a more atmospheric laden format that partners Modern Metal / PowerMetal with a lot of 90's inspired Alternative (semi) balladry. This comes in the shape of the semi-acoustic driven “On A Rainy Day”, the slow-paced “Blossoms In The Dust” and “Point Of No Return”. Over against that are the heavier outings, “I Can't Stand It” and “Going To Stay”; still very melodic and commercially Nu oriented with the riffage being full on in power if only for a fraction. The majority of tunes is moderately to mid-paced with the vocalage in the centre of attention, with some good, crisp lead vocals by frontman Andrey and plenty of chants / laid-back vocal harmonies in the 90's Alternative Rock vein. It is clear the band hints at the Mainstream Radio approach (referring to “A Little Too Obsessed” and the slightly New Wave vibed “Something Really Bad”) but it somehow fits within their musical pallette that is given the Alternative swing by incorporating sludge / atmospheric undertones alongside its melodic appearance. As there is not much differentiation in tempo, songs tend to sound a bit alike. Over against that, material is quite captivating and easy on the ear. OK
Paul van der Burght
label: Mausoleum www.mausoleum-records.net
songs: Awake / Unwanted Today / A Little Too Obsessed / Something Really Bad / On A Rainy Day / Blossoms In The Dust / I Can't Stand It / Daily Miracles / Going To Stay / Point Of No Return / Artificial Tears / Don't Let Them (Get You Down) / Clearway //
web: www.grenouer.com
Evolving from the 90's extreme Metal scene, Russian act Grenouer lowered the intensity levels of their concept, addressing to a more atmospheric laden format that partners Modern Metal / PowerMetal with a lot of 90's inspired Alternative (semi) balladry. This comes in the shape of the semi-acoustic driven “On A Rainy Day”, the slow-paced “Blossoms In The Dust” and “Point Of No Return”. Over against that are the heavier outings, “I Can't Stand It” and “Going To Stay”; still very melodic and commercially Nu oriented with the riffage being full on in power if only for a fraction. The majority of tunes is moderately to mid-paced with the vocalage in the centre of attention, with some good, crisp lead vocals by frontman Andrey and plenty of chants / laid-back vocal harmonies in the 90's Alternative Rock vein. It is clear the band hints at the Mainstream Radio approach (referring to “A Little Too Obsessed” and the slightly New Wave vibed “Something Really Bad”) but it somehow fits within their musical pallette that is given the Alternative swing by incorporating sludge / atmospheric undertones alongside its melodic appearance. As there is not much differentiation in tempo, songs tend to sound a bit alike. Over against that, material is quite captivating and easy on the ear. OK
Paul van der Burght
INFRARED – CD 2016 “No Peace”
label: private
songs: Inframental / T.O.C / No Peace / My Good Will / Social Science / Cliché / Some Kind Of Disease / Down Below / Untimely Storm / Thoughts Caught (In Between) / In Search Of //
web: http://infraredmetal.ca/
Canadian act that were already cranking out their Metal in the mid to late 80's, but apart from a 4 -song demo (R.I.P - “Recognition In Power”) and a video, “Thoughts Caught” the band never materialized any further material and disbanded shortly after. After well over 25 years, Infrared dusted off their gear and got back together again. The result is a resurgence of ThrashMetal the way it was played in those days, and “No Peace” is all that, including all tracks of the '88 demo plus 7 others. The disc starts off with an all-out 80's styled instrumental Thrash interlude, “Inframental”, before launching their classic brand of Thrash in the shape of the moderately fast paced “T.O.C”, partnering Metallica (“Master Of Puppets” era) with Nuclear Assault (vocals) with a Moshy sort of undertone (guitar staccato) and vibe. The Mosh thing comes re-appearing throughout the entire set and is further pushed forward on the mod / mid-paced titletrack. The Metallica influence comes back in full strength down the opening riff of “Social Science” (hinting at “Seek & Destroy”) and the intro to “Untimely Storm” before developing into a upbeat Thrasher. The fast and catchy “Some Kind Of Disease” slightly differs from the repertoire with its melodic-edge and rather SpeedMetal ish appearance. Infrared have not attempted to modernize or modify their original sound, so,in essence, “No Peace” is pretty much like a re-issue of the original 80's Thrash sound. O.K.
Paul van der Burght
label: private
songs: Inframental / T.O.C / No Peace / My Good Will / Social Science / Cliché / Some Kind Of Disease / Down Below / Untimely Storm / Thoughts Caught (In Between) / In Search Of //
web: http://infraredmetal.ca/
Canadian act that were already cranking out their Metal in the mid to late 80's, but apart from a 4 -song demo (R.I.P - “Recognition In Power”) and a video, “Thoughts Caught” the band never materialized any further material and disbanded shortly after. After well over 25 years, Infrared dusted off their gear and got back together again. The result is a resurgence of ThrashMetal the way it was played in those days, and “No Peace” is all that, including all tracks of the '88 demo plus 7 others. The disc starts off with an all-out 80's styled instrumental Thrash interlude, “Inframental”, before launching their classic brand of Thrash in the shape of the moderately fast paced “T.O.C”, partnering Metallica (“Master Of Puppets” era) with Nuclear Assault (vocals) with a Moshy sort of undertone (guitar staccato) and vibe. The Mosh thing comes re-appearing throughout the entire set and is further pushed forward on the mod / mid-paced titletrack. The Metallica influence comes back in full strength down the opening riff of “Social Science” (hinting at “Seek & Destroy”) and the intro to “Untimely Storm” before developing into a upbeat Thrasher. The fast and catchy “Some Kind Of Disease” slightly differs from the repertoire with its melodic-edge and rather SpeedMetal ish appearance. Infrared have not attempted to modernize or modify their original sound, so,in essence, “No Peace” is pretty much like a re-issue of the original 80's Thrash sound. O.K.
Paul van der Burght
CRETUS – EP 2015 “Dux Mea Lux”
label: Pavement Entertainment http://www.pavementmusic.com/
songs: Price Of Immortality / Darkness Bites / What I Will / The Leader / Little Children.
web: http://followcretus.com/
Shrouded in mystery, 3 piece unit Cretus marks their debut appearance in the scene with a sound and image (featuring masks and cloaks) that further elevates their mystique. Opening track “Price Of Immortality” sets the tone for things to come; early 80's styled Occult Metal with a 70's Psychedelic / Doom flavour. This song has a raw edge without sounding rough, yet it IS heavy and the riffage comes on strong without overpowering. The accent clearly is on the vocalage to create this atmosphere that just rings Satanic rites and spells. Sung in a talk-type manner with a certain narrative edge. Tempo wise, this song moves in a twofold pace, rolling on a slow, Doom like tempo with up-tempo accelerations. Some really good, rhythmic drummage down this one and lightly, Nordic BlackMetal styled riff hooks to go alongside the more sludge and chord leads. The slow-fast “Darkness Bites” continues the 80's tradition in a more Metal / Thrash merged appearance with the talked vocals giving the song an ominous twist aswell, as it hints at the 90's Alternative thing with the 'megaphone' tinged modes; a lot to discover and explore down this one. The slow / mid-paced “What I Will” continues on the 90's thing and has the power levels up to PowerMetal, furthering in a ThrashMetal fashion on the fast paced and stripped down “The Leader” with its bare-knuckle HardRock feel. The disc concludes with “Little Children”; a more in-depth and atmospheric outing that intensifies as it furthers to conclude in a Metallica sort of fashion. Most interesting set of songs that scores high in originality, versatility and delivery. Great!
Paul van der Burght
label: Pavement Entertainment http://www.pavementmusic.com/
songs: Price Of Immortality / Darkness Bites / What I Will / The Leader / Little Children.
web: http://followcretus.com/
Shrouded in mystery, 3 piece unit Cretus marks their debut appearance in the scene with a sound and image (featuring masks and cloaks) that further elevates their mystique. Opening track “Price Of Immortality” sets the tone for things to come; early 80's styled Occult Metal with a 70's Psychedelic / Doom flavour. This song has a raw edge without sounding rough, yet it IS heavy and the riffage comes on strong without overpowering. The accent clearly is on the vocalage to create this atmosphere that just rings Satanic rites and spells. Sung in a talk-type manner with a certain narrative edge. Tempo wise, this song moves in a twofold pace, rolling on a slow, Doom like tempo with up-tempo accelerations. Some really good, rhythmic drummage down this one and lightly, Nordic BlackMetal styled riff hooks to go alongside the more sludge and chord leads. The slow-fast “Darkness Bites” continues the 80's tradition in a more Metal / Thrash merged appearance with the talked vocals giving the song an ominous twist aswell, as it hints at the 90's Alternative thing with the 'megaphone' tinged modes; a lot to discover and explore down this one. The slow / mid-paced “What I Will” continues on the 90's thing and has the power levels up to PowerMetal, furthering in a ThrashMetal fashion on the fast paced and stripped down “The Leader” with its bare-knuckle HardRock feel. The disc concludes with “Little Children”; a more in-depth and atmospheric outing that intensifies as it furthers to conclude in a Metallica sort of fashion. Most interesting set of songs that scores high in originality, versatility and delivery. Great!
Paul van der Burght
SIRHK – CD 2016 “Perpetuum Meram Summam Exteriora Mea”
label: private
songs: Perpetuum / Exodium I / Meram / Exodium II / Summam / Exodium III / Exteriora / ExodiumIV / Mea /
web:
One-man instrumental project from the UK that links to Deathsters Grimace (vocalist). What we have here is an atmospheric affair that goes from light format, Ambient like settings with a bare instrumentation to heavier 'full band' instrumentals. The 'lighter' workouts come in the shape of partitions called 'Exodium'; the 1st one, “Exodium I” features a New Age like guitar with some wind effects running underneath. “Exodium II” follows that routine whilst the atmosphere thickens. When it gets to “Exodium III” the mood has gotten dark and cold with more acoustic guitar picking in a minor key. Final piece, “Exodium IV” features guitar chords over a repetitive background noise (jaw harp) and is dressed with a sad, dramatic atmosphere. Gauging the heavier instrumentals such as “Extteriora” and “Perpetuum”, things tend to sound a bit 'orchestral' without coming across 'bombastic'; instead, the production on this one is remarkably thin. There's an occasional BlackMetal guitar hook thrown in accenting the cold vibe that turns towards (semi) Doom as the song slows down. Among the heaviest picks of the album is “Meram” with its high-low-and-reversed BlackMetal riffage, blast beats, and cold, Nordic atmosphere. There's not a fragment of vocalage in this mere, atmospheric happening that partners ambient mood with dark vibes. Interesting.
Paul van der Burght
label: private
songs: Perpetuum / Exodium I / Meram / Exodium II / Summam / Exodium III / Exteriora / ExodiumIV / Mea /
web:
One-man instrumental project from the UK that links to Deathsters Grimace (vocalist). What we have here is an atmospheric affair that goes from light format, Ambient like settings with a bare instrumentation to heavier 'full band' instrumentals. The 'lighter' workouts come in the shape of partitions called 'Exodium'; the 1st one, “Exodium I” features a New Age like guitar with some wind effects running underneath. “Exodium II” follows that routine whilst the atmosphere thickens. When it gets to “Exodium III” the mood has gotten dark and cold with more acoustic guitar picking in a minor key. Final piece, “Exodium IV” features guitar chords over a repetitive background noise (jaw harp) and is dressed with a sad, dramatic atmosphere. Gauging the heavier instrumentals such as “Extteriora” and “Perpetuum”, things tend to sound a bit 'orchestral' without coming across 'bombastic'; instead, the production on this one is remarkably thin. There's an occasional BlackMetal guitar hook thrown in accenting the cold vibe that turns towards (semi) Doom as the song slows down. Among the heaviest picks of the album is “Meram” with its high-low-and-reversed BlackMetal riffage, blast beats, and cold, Nordic atmosphere. There's not a fragment of vocalage in this mere, atmospheric happening that partners ambient mood with dark vibes. Interesting.
Paul van der Burght
VLAD PROMOTION
Vlad Promotion is a Poland based promotion and publicity agency that is run by editor and music manager Vlad Nowajczyk. Vlad Promotion works alongside HEAVY ROCK magazine / website. Promotional roster of Vlad Promotion includes Heavy, Thrash, Speed, PowerMetal and some the featured bands include: Mortal Strike, Critical Solution, BattleX, Infrared and others. Contact: vladpromotion@gmail.com Heavy Rock Magazine http://heavyrock.pl/
Vlad Promotion is a Poland based promotion and publicity agency that is run by editor and music manager Vlad Nowajczyk. Vlad Promotion works alongside HEAVY ROCK magazine / website. Promotional roster of Vlad Promotion includes Heavy, Thrash, Speed, PowerMetal and some the featured bands include: Mortal Strike, Critical Solution, BattleX, Infrared and others. Contact: vladpromotion@gmail.com Heavy Rock Magazine http://heavyrock.pl/
MORTAL STRIKE – CD 2014 “For The Loud And The Aggressive”
label: private
songs: For The Loud And The Aggressive / Here Comes The Tank / Outburst Of Fury / Against The Wall 05./ Mg 42 / Smash the Tyrants - Storm the Gates / Strike / One Against All / The Tides Of War Arise #1 / Unleash The Hounds Of War #2 / bonus Track: Zombie Attack (Tankard cover)
web: www.mortal-strike.com
With a lyrical concept that is drenched in war, battles and its machinery, Austrian act Mortal Strike (who previously released a demo and an E.P) truly live up to the aggression element that runs through this album, and loud it is by all means! This is energetic, high impact, monster-riff Thrash that is styled in a 90's fashion. Material is predominantly fast paced and given value by thick, heavy rhythm riffage. It is the galloping (drum) modes of songs such as “Outburst Of Fury” and “Smash The Tyrants – Storm The Gates” that spotlight a click with Testament over the European feel (and vocal style) that runs parallel the WestCoast / Bay Area Thrash riffage and backing shouts. Mortal Strike have a razor-sharp guitar sound and production that, in combination with the 'open', straight forward structures brings Wargasm to mind on several occasions (and in particularly “Against The Wall”), and this also includes the talk-type vocal style and key. Add to this, a touch of Austrian Death Machine and Channel Zero, and that is pretty much where this album sits. Knockout-punch Thrash with a great, matching production. Cool
Paul van der Burght
label: private
songs: For The Loud And The Aggressive / Here Comes The Tank / Outburst Of Fury / Against The Wall 05./ Mg 42 / Smash the Tyrants - Storm the Gates / Strike / One Against All / The Tides Of War Arise #1 / Unleash The Hounds Of War #2 / bonus Track: Zombie Attack (Tankard cover)
web: www.mortal-strike.com
With a lyrical concept that is drenched in war, battles and its machinery, Austrian act Mortal Strike (who previously released a demo and an E.P) truly live up to the aggression element that runs through this album, and loud it is by all means! This is energetic, high impact, monster-riff Thrash that is styled in a 90's fashion. Material is predominantly fast paced and given value by thick, heavy rhythm riffage. It is the galloping (drum) modes of songs such as “Outburst Of Fury” and “Smash The Tyrants – Storm The Gates” that spotlight a click with Testament over the European feel (and vocal style) that runs parallel the WestCoast / Bay Area Thrash riffage and backing shouts. Mortal Strike have a razor-sharp guitar sound and production that, in combination with the 'open', straight forward structures brings Wargasm to mind on several occasions (and in particularly “Against The Wall”), and this also includes the talk-type vocal style and key. Add to this, a touch of Austrian Death Machine and Channel Zero, and that is pretty much where this album sits. Knockout-punch Thrash with a great, matching production. Cool
Paul van der Burght
TOUR DE GARDE 'Pure Underground Plague'
web: http://t-d-g.net/
Tour De Garde is a Canadian based Underground Black Metal label and mailorder, active since 2001. Over the years, Tour De Garde has released a large number of cassettes, CD's and vinyls, including bands such as Pagan Hellfire, Ash Pool, Nightbringer, Menace Ruine, Total Genocide and many more. Mailorder additionally features merchandise such as pins, patches, t-shirts, but also a broad selection of fanzines / magazines.
web: http://t-d-g.net/
Tour De Garde is a Canadian based Underground Black Metal label and mailorder, active since 2001. Over the years, Tour De Garde has released a large number of cassettes, CD's and vinyls, including bands such as Pagan Hellfire, Ash Pool, Nightbringer, Menace Ruine, Total Genocide and many more. Mailorder additionally features merchandise such as pins, patches, t-shirts, but also a broad selection of fanzines / magazines.
80's METAL STUFF
reviews, interviews, facts and figures
reviews, interviews, facts and figures
ASSASSIN – 7” US’84 “TREASON”
label: private
songs: Treason / All Your Love //
Back in the 80’s, there must have been at least a dozen of bands that went by the very same name, including one from Ireland, one from Germany and another one from the US (Pennsylvania) that popped out the ’85 “License To Kill” LP. This Assassin is from Southern California and was initiated by guitarists Thom Beebe and Vince Cavarra. The “Treason” single is the first thing to appear on vinyl, followed by a whole series of contributions to compilation LP’s the year after. Surprisingly, this concerns two samplers, put together by the New Renaissance label, respectively “Metal Madness” and “Best Of Californian Metal” (featuring both single-tracks) and another one by the T.A.S. label that goes by the name of “No Substitute For Steel” which also featured a single track (“Treason”). Musical-wise, the songs on offer here are worlds apart, the first of which is where all the action is at. “Treason” is an all-out US Metal affair on the verge of PowerMetal referring to its chunky, crunch muffled guitar leads. This driven up-tempo number oozes power, complimented by the strong, muscle-vocals of Pete Papps and the allround guitar-bass synchronization that give the song this beefy sound. Song itself is pretty transparent in structure, but does not affect the whole deal in any which way, as there’s some good variations to the main theme, instant access and this gripping riffage ripping through it’s scant 3+ minute running time. Concept-wise this song is pretty much down the same page as Mox Nix, but things do take a different turn on flipside tune “All Your Love”, harking back to Rainbow’s “Lady Starstruck” with blends of old Whitesnake and Scorpions thrown in. This moderately paced, conventional style HardRocker has been given the chunky Assassin make-over, including solos by both guitarists, re-appearing twice throughout the song. A very complete single by a very complete band that sure had overground potential. There’s been talk to release a mini-LP including two other cuts, “Tower” and “Backstabber”, but this never got vinylized, and the same applies to the “Assassin” full-lenghter from which these 2 single tracks were taken. However, all of the band's recordings have been released in 2009 on CD through Deep Shag records, featuring the planned '84 album plus an additional 5 live tracks recorded in '84 at a show in La Mesa, California.
Paul van der Burght
Assassin interview further down this page
label: private
songs: Treason / All Your Love //
Back in the 80’s, there must have been at least a dozen of bands that went by the very same name, including one from Ireland, one from Germany and another one from the US (Pennsylvania) that popped out the ’85 “License To Kill” LP. This Assassin is from Southern California and was initiated by guitarists Thom Beebe and Vince Cavarra. The “Treason” single is the first thing to appear on vinyl, followed by a whole series of contributions to compilation LP’s the year after. Surprisingly, this concerns two samplers, put together by the New Renaissance label, respectively “Metal Madness” and “Best Of Californian Metal” (featuring both single-tracks) and another one by the T.A.S. label that goes by the name of “No Substitute For Steel” which also featured a single track (“Treason”). Musical-wise, the songs on offer here are worlds apart, the first of which is where all the action is at. “Treason” is an all-out US Metal affair on the verge of PowerMetal referring to its chunky, crunch muffled guitar leads. This driven up-tempo number oozes power, complimented by the strong, muscle-vocals of Pete Papps and the allround guitar-bass synchronization that give the song this beefy sound. Song itself is pretty transparent in structure, but does not affect the whole deal in any which way, as there’s some good variations to the main theme, instant access and this gripping riffage ripping through it’s scant 3+ minute running time. Concept-wise this song is pretty much down the same page as Mox Nix, but things do take a different turn on flipside tune “All Your Love”, harking back to Rainbow’s “Lady Starstruck” with blends of old Whitesnake and Scorpions thrown in. This moderately paced, conventional style HardRocker has been given the chunky Assassin make-over, including solos by both guitarists, re-appearing twice throughout the song. A very complete single by a very complete band that sure had overground potential. There’s been talk to release a mini-LP including two other cuts, “Tower” and “Backstabber”, but this never got vinylized, and the same applies to the “Assassin” full-lenghter from which these 2 single tracks were taken. However, all of the band's recordings have been released in 2009 on CD through Deep Shag records, featuring the planned '84 album plus an additional 5 live tracks recorded in '84 at a show in La Mesa, California.
Paul van der Burght
Assassin interview further down this page
BEOWULF – LP US’80 “SLICE OF LIFE”
label: Morrythm
songs: Slice Of Life / Ain’t Getting’ Any Younger / Fantasy / London Woman / Hideaway / Getaway / Social Champ / Thanks To You / ½ A Number / The Hounds Of Tindalos //
Beowulf (not to be mistaken for that other California based outfit), are an American band, but not knowing better, one would surely hold them for a NWOBHM act, and a very good one indeed! Released at a time that the NWOBHM thing really began snowballing, they might have benefited in some way, if only their LP wasn’t hindered by a poor distribution and ridiculous import prices. “Slice Of Life” is a fine piece of melodic laden NWOBHM that sports the significant, riff-based programming, but has a lot more to offer than just that, referring to the balladry – injected numbers “Fantasy”, “Thanks To You” and “The Hounds Of Tindalos” with its climaxing structure. Versatility is further up with the short, instrumental Boogie groovster “1/2 A Number” and the guitar showered, Boogie-based “Social Champ”, that could’ve been a true champ if it wasn’t for the mis-matched drumsolo halfway, disrupting the energy of the song as a whole. All-out NWOBHM is on display with the album’s heaviest numbers “Getaway”, “Slice Of Life” (both riff-based, upbeat driven), and in particularly the mid-paced “Hideaway”, which actually is quite mediocre. More on the verge of HardRock is this one tune; the largely synchronized, chord – riffed up-tempo groovster ”London Woman”. There’s times, Beowulf could’ve been really heavy (they actually are for that time), if only the guitars would have been amplified with some serious distortion, as the riffage occasionally has this cutting edge approach, as on “Slice Of Life” and “Ain’t Getting Any Younger” for instance. The melodic aspect mainly comes off the mid-range vocals, but that’s where it all ends. Strength of the band lies in the compact, energetic nature of the songs and the allround guitarwork, that is THE prominent factor throughout, with the rhythmic, mobility drummage as the second best. In all, a most deserving and entertaining LP that will make a welcome addition to any NWOBHM collection!
Paul van der Burght
label: Morrythm
songs: Slice Of Life / Ain’t Getting’ Any Younger / Fantasy / London Woman / Hideaway / Getaway / Social Champ / Thanks To You / ½ A Number / The Hounds Of Tindalos //
Beowulf (not to be mistaken for that other California based outfit), are an American band, but not knowing better, one would surely hold them for a NWOBHM act, and a very good one indeed! Released at a time that the NWOBHM thing really began snowballing, they might have benefited in some way, if only their LP wasn’t hindered by a poor distribution and ridiculous import prices. “Slice Of Life” is a fine piece of melodic laden NWOBHM that sports the significant, riff-based programming, but has a lot more to offer than just that, referring to the balladry – injected numbers “Fantasy”, “Thanks To You” and “The Hounds Of Tindalos” with its climaxing structure. Versatility is further up with the short, instrumental Boogie groovster “1/2 A Number” and the guitar showered, Boogie-based “Social Champ”, that could’ve been a true champ if it wasn’t for the mis-matched drumsolo halfway, disrupting the energy of the song as a whole. All-out NWOBHM is on display with the album’s heaviest numbers “Getaway”, “Slice Of Life” (both riff-based, upbeat driven), and in particularly the mid-paced “Hideaway”, which actually is quite mediocre. More on the verge of HardRock is this one tune; the largely synchronized, chord – riffed up-tempo groovster ”London Woman”. There’s times, Beowulf could’ve been really heavy (they actually are for that time), if only the guitars would have been amplified with some serious distortion, as the riffage occasionally has this cutting edge approach, as on “Slice Of Life” and “Ain’t Getting Any Younger” for instance. The melodic aspect mainly comes off the mid-range vocals, but that’s where it all ends. Strength of the band lies in the compact, energetic nature of the songs and the allround guitarwork, that is THE prominent factor throughout, with the rhythmic, mobility drummage as the second best. In all, a most deserving and entertaining LP that will make a welcome addition to any NWOBHM collection!
Paul van der Burght
CHINAWHITE – 7” US ‘84 “HEAVY METAL THUNDER”
label: Heaven On Earth (private)
songs: Heavy Metal Thunder / Death From Above //
American outfit, not to be mistaken for the U.K Chinawhite, that also circulated a 7-incher (plus an LP), or that other (Toledo – Ohio based) 80’s US Metal act that goes by the very same name and also belted out a custom single; “Breaking Away” c/w “Victims Of The Night”. As its title suggests, “Heavy Metal Thunder” is all Metal, driven by a mid-tempo with a traditional Metal chant, rough, snappy vocals and this allround, rough and raucous sound / atmosphere. The whole package here is firmly rooted in European Metal, but on the primitive side of things performance wise, including a guitar solo that is not truly convincing. “Death From Above” is a mediocre, moderately paced Metal number that is hampered by the absence of a catchy drive. This song simply doesn’t run smoothly, particularly when it comes down to the mid-section / sub theme. Overall, this is a beginners level – affair, which, in combination with the thin, trebly production brings this 2-songer back to the demo-status level and / or sound of the first generation US Metal / HardRock 7-inchers and private pressings from the 80’s, be it with a demerit or two. Reasonable.
spcs: Never in picture sleeve
Paul van der Burght
label: Heaven On Earth (private)
songs: Heavy Metal Thunder / Death From Above //
American outfit, not to be mistaken for the U.K Chinawhite, that also circulated a 7-incher (plus an LP), or that other (Toledo – Ohio based) 80’s US Metal act that goes by the very same name and also belted out a custom single; “Breaking Away” c/w “Victims Of The Night”. As its title suggests, “Heavy Metal Thunder” is all Metal, driven by a mid-tempo with a traditional Metal chant, rough, snappy vocals and this allround, rough and raucous sound / atmosphere. The whole package here is firmly rooted in European Metal, but on the primitive side of things performance wise, including a guitar solo that is not truly convincing. “Death From Above” is a mediocre, moderately paced Metal number that is hampered by the absence of a catchy drive. This song simply doesn’t run smoothly, particularly when it comes down to the mid-section / sub theme. Overall, this is a beginners level – affair, which, in combination with the thin, trebly production brings this 2-songer back to the demo-status level and / or sound of the first generation US Metal / HardRock 7-inchers and private pressings from the 80’s, be it with a demerit or two. Reasonable.
spcs: Never in picture sleeve
Paul van der Burght
D.D.T – 12”EP CND’84 “LET THE SCREW…”
label: Wasted
songs: Let The Screw / Bitches / Metal On Ashes / Wasted / Where Were You //
Canadian band with an European sound, engaging some chunky HardRock with a preference for accelerated modes. The disc starts with “Let The Screw”; an instant-access and groove laden HardRock number that sounds much like a spiced up Blacklist – meets – Accept. It is this combination of muscular vocals, powerhouse drummage, gripping themes and tasty guitarwork that make the formula work from start to finish. For some reason, D.D.T. breathes this allround, German HardRock sound and feel, to some extend due to the vocalage that is among the likes of Lothar Antony (Trance) / Udo Dirkschneider (Accept) with added bottom-end boost and volume. Another, permanent factor throughout the material is this air-tight instrumentation and co-ordination, best witnessed on follow up tune “Bitches”, going through several melodies underneath its no-holds-barred, straight forward approach. This comes re-surfacing on “Metal On Ashes”; a toe tapping semi-Headbanger that has the European thing merging with US-Metal in the styles of Breaker with an Iron Maiden like drum – guitar synchronization / mobility. “Wasted” is all HardRock, conventional style; ball busting and booze gulping with a fist pumping chorus. “Where Are You” is a high octane Headbanger with the Trance thing re-appearing. Disc is nicely diversified in terms of songwriting with some complementary synths usage ("Metal On Ashes") and double sung lead-lines (titletrack). "Let The Screw" had all the potential to be a competitive affair, yet it was the only piece of vinyl exposure, alongside a contribution to the “Moose Molten Metal” compilation before the band faded into obscurity after some follow-up demo-tapes. However, the band furthered their career as Adam's Apples and the works of D.D.T have been digitalized in more recent years through an anthology release on No Remorse records. If you ever come across D.D.T's “Let The Screw” whilst vinyl hunting, make sure to pick up a copy as it is as Metal as can be! Recommended.
Paul van der Burght
label: Wasted
songs: Let The Screw / Bitches / Metal On Ashes / Wasted / Where Were You //
Canadian band with an European sound, engaging some chunky HardRock with a preference for accelerated modes. The disc starts with “Let The Screw”; an instant-access and groove laden HardRock number that sounds much like a spiced up Blacklist – meets – Accept. It is this combination of muscular vocals, powerhouse drummage, gripping themes and tasty guitarwork that make the formula work from start to finish. For some reason, D.D.T. breathes this allround, German HardRock sound and feel, to some extend due to the vocalage that is among the likes of Lothar Antony (Trance) / Udo Dirkschneider (Accept) with added bottom-end boost and volume. Another, permanent factor throughout the material is this air-tight instrumentation and co-ordination, best witnessed on follow up tune “Bitches”, going through several melodies underneath its no-holds-barred, straight forward approach. This comes re-surfacing on “Metal On Ashes”; a toe tapping semi-Headbanger that has the European thing merging with US-Metal in the styles of Breaker with an Iron Maiden like drum – guitar synchronization / mobility. “Wasted” is all HardRock, conventional style; ball busting and booze gulping with a fist pumping chorus. “Where Are You” is a high octane Headbanger with the Trance thing re-appearing. Disc is nicely diversified in terms of songwriting with some complementary synths usage ("Metal On Ashes") and double sung lead-lines (titletrack). "Let The Screw" had all the potential to be a competitive affair, yet it was the only piece of vinyl exposure, alongside a contribution to the “Moose Molten Metal” compilation before the band faded into obscurity after some follow-up demo-tapes. However, the band furthered their career as Adam's Apples and the works of D.D.T have been digitalized in more recent years through an anthology release on No Remorse records. If you ever come across D.D.T's “Let The Screw” whilst vinyl hunting, make sure to pick up a copy as it is as Metal as can be! Recommended.
Paul van der Burght
ALL OF THE INTERVIEWS BELOW HAVE BEEN CONDUCTED MANY YEARS AGO THROUGH MY THEN FANZINE 'LOUD AND LEGENDARY'. STILL, THERE IS A WEALTH OF EXCLUSIVE INFORMATION AND FACTS IN THESE INTERVIEWS, JUST TOO GOOD TO LET GO! Stay tuned for many more interviews that have been shelved for years; 80's Metal is alive!!
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Assassin photos above left, right and upper left and right by Michael Reed
ASSASSIN
Back in the 80’s, there’s been quite a few bands going by the name of Assassin. However, this one – from San Diego, USA -was the first to vinylize any material under that banner. With a circulation of only a 1000 copies and some three contributions to compilation LP’s, it is likely that, at present, only a selected few, know about this great, all-out US Metal band. It is therefore the band is now exposed through an interview with two of its members; bass-guitarist John Osmon and lead guitarist Vinnie Cavarra. read on!
Back in the 80’s, there’s been quite a few bands going by the name of Assassin. However, this one – from San Diego, USA -was the first to vinylize any material under that banner. With a circulation of only a 1000 copies and some three contributions to compilation LP’s, it is likely that, at present, only a selected few, know about this great, all-out US Metal band. It is therefore the band is now exposed through an interview with two of its members; bass-guitarist John Osmon and lead guitarist Vinnie Cavarra. read on!
* When exactly did the band get together, and what bands did you emerge from...
Vinnie Cavarra : The band formed in the summer of ’83, when Thom Beebe and I were working at a local guitar store in San Diego. We both had Just left bands that don’t really need to be remembered, and were currently not gigging and said, ‘what the heck, let’s get a group together’. We obviously decided it was going to be an original direction to pursue, as we both were tired of the “cover” groups out there banging away. Thom had been in a local band a few years back called “Child” and had some songs under his belt so we started learning those tunes right away. So we took our time in finding other members. At first we actually had a female lead singer, but she rejected the bands name. So as fantastic as she was as a singer, we had to reject her. Our drummer was Leroy Vega…..God, what an animal on the drums. Simply the loudest and most rock solid drummer I’ve ever played with. A nice guy as well. Leroy then brought in a singer he had played with before in other groups, Pete Papps. Pete has a very strong voice for such a little guy…..kinda like Ronnie James Dio. So he was on board. The first bass player we had was Neil Foote. Good player, but he had other interests at the time so he departed rather quickly. Then I remembered a guy I met a few years back who was an absolute monster on the bass; John Osmon. I really don’t remember much about the first times we played, just that it was incredibly LOUD! It was just perfect.
John Osmon : I grew up in Chicago and played in a variety of Rock bands aswell as Jazz and Blues based outfits there. I moved to San Diego during a stint in the Navy and upon being discharged, joined up with some bands. I had been the Bass Player and lead singer in a band called Maxdamian for a while before joining a band that Jake E. Lee had been in prior to moving on to his gig with Ozzie. Warren Dimartini had done a stint in that band as well. Leroy Vega was the Drummer and a fellow named Mark Stevens was the singer and main songwriter. I also played a bit in a band with Craig Goldie who was in Rough Cutt, then Giuffria , then ultimately with Ronnie James Dio. I was friends with Vince Cavarra and when he invited me to join the project with him and Thom I jumped at it. Thom Beebe had a handful of songs he brought with him from his previous band Child that he had co-written with Rick Reed. Once the band came together we all put our stamp on them and molded them into our sound. On other material, we would take ideas that either, Thom, Vince or myself would bring in, and shape them together and leave Pete to apply vocal parts and lyrics with occasional help from myself.
* Has there been any demos prior to the release of the "Treason" single?
VC : We actually recorded one song called “What’s That” with the above line up, except, Neil Foote played bass on it. It was entered to be chosen in a local San Diego compilation record. Got airplay, but did not make it on the record.
JO : Treason came from our first properly funded and engineered attempt, with the help from legendary San Diego Radio disc jockey Jim McGuiness and some deep pockets from friend and Padre Pitcher at the time, Eric Show, as well as some money kicked in by band friend Charlie Bryant, money I kicked in as well as Vince's father, we were able to record 10 songs and mix and master them. We only had the funds to press the single to include “Treason" and "All Your Love". We viewed those collectively as being ‘single’ material as strong songs in a short ‘Radio friendly’ format for airplay.
* The musical concept on the single has quite a diverse, almost contrasting nature; there's this all-out 80's US Metal/Speed thing on the titletrack, and some modified, conventional rooted HardRock on flipside tune "All Your Love"; gauging just these two songs, one cannot tell what the true nature of the band was; did the set go by several musical differences anyways?
VC : Both those tunes were from the collaboration of Thom and Rick Reed, the singer from Thom’s old band “Child”. Frankly, they were easy tunes, and we had played them many times by now and they sounded pretty good. So when we went into the studio (thanks to the parents’ generosity, to get us started) those were the first to get tracked. We had about 9-10 tunes to record, with about half of those being new ones that I, and the guys, had come up with. “Tower” was one of the newer ones, for example.
JO : The bands’ material ranged in sound from the people who wrote the tunes to the mood we were in when we shaped the sound of the resultant song as it ended up. Our approach to our material was more along the lines of Led Zeppelin in keeping the freedom to move around a bit with our styles and not pigeon hole the material on one set of rails and just roll with it. The songs that made up our sets we played live varied quite a bit in musical style from dark and heavy to more of a Pop Rock at times. We would even throw in a cover tune here and there sometimes for encores, for example "Rock Candy" by Montrose, and, in a medley style we would merge "Immigrant Song" in the middle of another tune during our live set.
* "All Your Love" sports a guitar lead, much in the styles of Rainbow's "Lady Starstruck"; has this been an inspirational source here? Other similarities that may come surfacing on this one are early Scorpions and Whitesnake; any match here?
VC : Thom was heavily influenced by Ritchie Blackmore, so you are right on in your comparison. Thom plays the main lead in that tune, and we both do the talkback leads through out. Thom was gracious in letting me do the lead in “Treason”. And yes, Whitesnake, Scorps’, all those bands of that era influenced me, that’s for sure.
JO : Thom not only was influenced by Ritchie Blackmore, he looked quite a bit like him. We were at the NAMM show one year and ran into Ronnie James Dio and stopped to talk with him for a bit. Very quickly a line formed of people wanting autographs, with a great many more asking for Thom's, thinking he was Ritchie Blackmore and asking if he and Ronnie were planning on reforming that great Rainbow line up. It was pretty funny. Another time we went to see Yngwie Malmsteen backstage at a club in Reseda California, up in the L.A. area and a reputable Guitar publication wrote a story claiming that Ritchie Blackmore was backstage watching his protégé Yngwie. Thom naturally loved this comparison as he was a big Blackmore fan himself.
There was a European Metal Magazine at the time that did a review of our single and made reference to it sounding quite a bit like Whitesnake; "All Your Love" was written and recorded quite a few years prior to Whitesnake coming out with their "Whitesnake 1987" record with the cut "Give Me All Your Love" on it. It is uncanny how much that song sounds like ours; I have no idea if there was any ‘inspiration’ to them from our version, but if there were it would have been a great compliment to us. We were and still are big fans of them.
* What have been the bands that inspired Assassin anyway?
VC : For me, I was influenced by the giants, like Zep, Van Halen of course, and Rush.
JO : I think you would have to add Deep Purple and Rainbow certainly from Thom's behalf as well as for me AC/DC, Black Sabbath, Jimi Hendrix, Montrose, UFO, Scorpions and just all the records a young kid listens to growing up at that time and naturally drawing from when it comes time to shape your style.
* Why did you deliver those same tracks from the single to the compilation LP's "Metal Madness" and "Best Of Californian Metal", whilst "Treason" even appeared twice, including an appearance on "No Substitute For Steel" by the T.A.S. label. Didn't you have any other recorded material available at that time, or did its initiators choose the songs?
VC : Actually, after we tracked all the songs we felt we had done well enough; we had these opportunities to submit to these compilations. We only had enough money to do a final mix on just a couple of tunes, so those were the ones. They also happened to be, we all felt, good strong songs as well.
JO : We had very good mixes of all the material we recorded but mastered for pressing only those tunes of the single we put out ourselves. These compilation companies picked those tunes based on their readiness I guess, even though I think I remember us wanting to put “Backstabber” on at least one of them. A lot of this was happening while we were out playing quite a bit doing gigs and I'd have to say in our defense that we all were partying quite a bit at the time with our fans and what not and probably had taken our eye off the ball a bit.
* Just how many originals did the Assassin set count at that stage?
VC : Like I mentioned before, we tracked 9 or 10 songs from that session, and we were constantly writing new tunes, all of us contributing at this point. It was really a creative time. We probably had 15 to 20 tunes within a very short period after the recording sessions.
JO : We were always working on new songs and keeping the set fresh with the addition of new material, all the while keeping the crowds happy with the favorites as well. We had a lot of ideas of tunes in various stages of completion at any given time as well. With songs coming in from contributions from Vince and myself as well as Thom, rehearsals would go in all different directions sometimes and some songs would be seen all the way through and some left in disarray. I would have to say we had at least 20 songs to choose from for our shows at any given time.
* Since you contributed twice to a New Renaissance records - compilation, how come you did not ink a deal with the aforementioned?
VC : I really can’t answer that, you should ask them! Don’t forget, that around that time there was a gluttony of bands, and some got signed for God knows why. Still, to this day, I feel we had a pretty good group, one that could have held its own.
JO : I think there were talks about doing that but based on the successes that were being realized by friends of ours like RATT and Rough Cutt, at the time, our hope was holding out for that great big deal with the big record company and not being serious enough to pursue the offers made to us at the time from the not so big ones. In hind sight obviously, we should have gone for it. Again, our eye wasn't on the ball as well as it should have been and we had very suspect management, and for the most part managed ourselves more than the help we actually got from them. We mostly managed to party more than we should have I think.
* How many copies of the Assassin single were pressed?
VC : If I recall, I think we pressed 500? Not sure, might have been a thousand.
JO : It was 1000 as I bankrolled a part of that and helped in the distribution, and managing the fan mail we received from them and the compilation records and T-Shirt orders. They went pretty quick and I only hung on to a few of them for keepsake.
* Assassin got fanzine feedback all the way down to Europe, how about exposure in the U.S.A., and don't you think a putting out an independently released 7-inch single in the United States and selling it, was way more difficult in the 80's then it was in Europe, the more so, as most mid 80's U.S. Metal bands released demos instead....
VC : That’s the way it has always been in this business… Europe was, and still is, much more open to new and up and coming bands. It’s very difficult to make it in the States alone, as most labels back then waited to see how you did on your own, first. Of course there have been exceptions, but that’s usually how it worked. I know we got some exposure across the pond, but it never fully materialized.
JO : We had great support form the local radio station here KGB 101.5 in San Diego with disc jockeys Jim McGuiness, Pat Martin, and John Leslie firmly in our corner helping us out. Pat Martin hosted a program called “Metal Shop” where he would play us regularly as well as have us come in and guest host it from time to time. I got mail from other radio stations around the country that received copies of our records or the compilation records and were playing it. Once again, we were mismanaged and did not do enough to chase down those avenues we needed to achieve that elusive success. The exposure we received from across the pond and in Japan came with no work from us. It sort of just took on a life of its own. Unfortunately we never were able to pursue that and go over and push it harder with live appearances.
* Did you release any official demos, or rehearsals... Assumingly, some did circulate the scene, officially or unofficially...
VC : That’s been an amazing thing to me. I’ve recently found out that some of our tunes, recorded from those early sessions and never released by us, have been circulating around the Internet. How they got out there, I’ll never know. By now though, I have compiled and re-mastered (from an early test mix cassette) the remaining songs from that session. Thank God none of our rehearsals were ever recorded!!!!!
JO : We never recorded rehearsals but did do a couple of other sessions at a studio called ‘Straight Ahead Sound’ that was attached to one of the venues we used to play at regularly. I have no idea what became of the tapes from those sessions. It would have been fun to have heard tapes from our rehearsals though. Especially at the end, they were getting pretty juicy with a lot of bickering going on.
* At some stage, there's been talk of a mini-LP, supposedly to include other cuts such as "Tower" and "Backstabber"; whatever happened, as this release somehow fell through..?
VC : There has been a couple attempts to release the remainder of the songs we did record. I, and other interested parties, have been trying to procure the actual 2-inch masters from Thom. I want and am able to remix them to our liking, but he’s been reluctant to release them for some reason. He feels they are his, incorrectly, so at this point, short of stealing them back, we’re at a dead end (in getting the 2-inch masters that is).
JO : I had half of the masters and turned them over a while back I think to Vince. I don't remember what was on them. There was a company out of Atlanta that was very interested in trying to release a CD of all that material, and I thought it would have been fun to have seen it surface after all these years. Unfortunately Thom once again let his ego get in the way and put forward all these demands and ridiculous restrictions and basically derailed the whole project. Vince and I had no unrealistic visions of grandeur from their release. We just thought it would have been fun to have finally put that material out there if only to have had a cool copy of it for ourselves and our kids to listen to. Thom was concerned with royalties and the share of which he thought he had coming to him. He remembers in his mind himself writing all the tunes back then when in actuality he was too drunk most of the time to make it through rehearsals on two feet. Bottom line is, NO CD.
* Has there been any label interest back in the days?
VC : Oh sure, we had interest. But no serious offers really ever came up. I feel we were just behind the crest of the wave, honestly. Friends of ours in Ratt, Rough Cutt, Jake Lee, those guys from San Diego, already were on their way, and we were a little behind…
JO : Our management we were unfortunate enough to have relied on, blew a lot of smoke up our asses and it was difficult, like I'm sure a lot of bands can relate to, of what was real and what was a mirage. The big bummer is we never managed to grab the real ones and only chased a bunch of mirages. Ultimately, the frustration of grabbing nothing but sand did us in I'm afraid. We had every opportunity to catch that wave, but there was a lot of partying going on and I feel we let it pass us by. At the end there, Metal sort of imploded as well with the pop ballads running their course and as it turned out driving the stake that damn near killed the beast. We finally packed it in.
* There's been misconceptions about the vinyl released under the banner of Assassin, as there's been a few bands around at that time, including one from Germany, and another US based Assassin. Has this never brought about any confusion? To clear all this, the only piece of vinyl circulated by you was the "Treason" 7-incher, right…
VC : That is correct. Yes, I’ve heard of other groups with that name. I think, although I could be wrong, we were the first. It’s just a name. Frankly, I think we were the best looking!
JO : The bands using the name Assassin as far as I new came a bit later than us. According to our management (Ha Ha) we were copy-righted and we were in possession of that name. Who knows. I only wish the best of luck to anyone else to give it a go under that name. The name is actually derived in it's origin for a band of men that would take on the task of some killing for a cause and crank themselves up on Hashish in order to get the job done. Hashish being part of the root of the word Assassin. I don't think we knew that at the time we came up with it, but in hindsight, when you look at our ultimate demise, it's sort of ironic. Treason and All your Love was the only 7 - incher as you put it, that we put out there, although Vinnie and myself were packing more than 7 inches, and certainly put them out there....
* Whatever happened to the band, as you guys sure did have competitive potential and your sound nicely blended in with the mid 80's US Metal / Speed sound, so timing was perfect aswell...
VC : It goes back to what I said earlier. I think we had a lot of potential, just behind a little in our timing, and timing is everything.
JO : We went through the frustrations of chasing that dream and never quite realizing it to it's fullest potential. I think we could have worked harder at it in some ways, and done some things differently and who knows. There were a lot of really great bands back then that were a lot better than the bands that did actually make it that for one reason or another came up short. We went through changing drummers to a guy named Dave "Bundy" Imondi, and then even changed singers at the end there to a guy named Marc Anthony who brought a bunch of songs to the band as well as a bunch more baggage. Ultimately there became some in fighting and we finally shut it down. It was a lot of fun and I look fondly back on those days and the great times we had as a band of brothers. When this life is over and we are all sitting around the locker room telling stories a great many of mine will come from those days.
* As the band folded, where did its members fly off to band / musical - wise, and are you still in touch with any of its initial members?
VC : For me, after we broke up, I joined forces with ex members John and Leroy and a new lead singer / songwriter and formed the band “Blacklist” It was a good band. We played the San Diego original scene for a few years, did the usual opening gigs with some national acts, etc. Did some recording as well… I moved to Oregon in ’93 and have been here since. Still play practically every week, am very involved in music still as I co-own a recording studio here in our area. There was talk of an Assassin reunion a year or two ago, so we all got in touch with one another somehow, which was cool, but inevitably it fell through. John and I remain in close contact. I hear Leroy is back in San Diego again, Thom now runs the same music store in San Diego, the one we both worked at back in ’83, and I think Pete is somewhere in Arizona……….
JO : Vince and I played in a band called Big Game Hunter for awhile with the original singer of Assassin, Lorah Brodie. Then Black List which was a lot of fun. In all the bands we have had opportunities to play concerts with major touring artists and rub shoulders with and meet a lot of our heroes. It's been a great experience. Vince moved to Oregon with his lovely bride and Black List continued on with a guitarist named Brett Ellis. It finally broke up. I have played in a bunch of various bands. One was a Progressive Rock band called 2211, Then a Jazz band called World Affair. Then, going back to my Chicago Blues roots in Blues projects, and some classic Rock bands. I played in a fun KGB radio station band comprised of an all star line up of musicians with the DJs from the station providing lead and background vocals led by Pat Martin. That was a pure blast. I have through the years played in bands with a brilliant guitarist with which I feel privileged to share a stage named Jeff Snider. We are constantly working on new things. He also has an incredible line of hand built amplifiers he has designed and sells that you can check out at www.snideramps.com . I also play in a Deep Purple Tribute band now called “Deeper Purple” with the second drummer from Assassin Dave Imondi. Now I'm playing in a Van Halen tribute band called “OU812” playing all the Sammy Hagar era material as well as Sammy Hagar tunes from his various bands even going as far back as Montrose. You can find out more at www.OU812band.com It's a lot of fun and we have the support of Sammy Hagar's Tequila company Cabo Wabo doing promotions at all of our shows. It's a lot of fun and I'm happy to be rocking still after all these years. Making music is supposed to be about fun and having a great time. It's hard to give up. When I'm not shaking the ground with my bass I'm doing it on my Harley riding around California blowing the days trials and tribulations right out of my head.
* Anything else you'd like to add?
VC : Thank you Paul for the interest after all these years…. Hope this gives you some insight into the “Assassin Chronicles”, J Vinnie Cavarra
JO : I too, would like to Thank You Paul for the honor of your interest in a band we poured our heart and soul into two decades ago. It's funny to imagine that a band that played that loud back then is still heard today by some people. We touched a lot of lives in those days and had many very kind fans pour their love out to us in a variety of ways. They will never be forgotten. That was what any band gets into this racket for in the first place. Fame and Fortune are wonderful and it would be killer to be rich beyond your wildest dreams from doing this, but it's the adoration from fans that come to watch you do your thing that makes the majority of people play in Rock bands. We definitely had a great following of fans to help us realize that dream, and made those days incredibly memorable. We loved them and always will. I still to this day have people show up and see me in whatever bands I happen to be playing in that have been coming to see me since those days and come up to talk with me and remind me of how much they enjoyed it. I can't describe how good that makes me feel inside and I am eternally grateful for that feeling.
Paul van der Burght
Vinnie Cavarra : The band formed in the summer of ’83, when Thom Beebe and I were working at a local guitar store in San Diego. We both had Just left bands that don’t really need to be remembered, and were currently not gigging and said, ‘what the heck, let’s get a group together’. We obviously decided it was going to be an original direction to pursue, as we both were tired of the “cover” groups out there banging away. Thom had been in a local band a few years back called “Child” and had some songs under his belt so we started learning those tunes right away. So we took our time in finding other members. At first we actually had a female lead singer, but she rejected the bands name. So as fantastic as she was as a singer, we had to reject her. Our drummer was Leroy Vega…..God, what an animal on the drums. Simply the loudest and most rock solid drummer I’ve ever played with. A nice guy as well. Leroy then brought in a singer he had played with before in other groups, Pete Papps. Pete has a very strong voice for such a little guy…..kinda like Ronnie James Dio. So he was on board. The first bass player we had was Neil Foote. Good player, but he had other interests at the time so he departed rather quickly. Then I remembered a guy I met a few years back who was an absolute monster on the bass; John Osmon. I really don’t remember much about the first times we played, just that it was incredibly LOUD! It was just perfect.
John Osmon : I grew up in Chicago and played in a variety of Rock bands aswell as Jazz and Blues based outfits there. I moved to San Diego during a stint in the Navy and upon being discharged, joined up with some bands. I had been the Bass Player and lead singer in a band called Maxdamian for a while before joining a band that Jake E. Lee had been in prior to moving on to his gig with Ozzie. Warren Dimartini had done a stint in that band as well. Leroy Vega was the Drummer and a fellow named Mark Stevens was the singer and main songwriter. I also played a bit in a band with Craig Goldie who was in Rough Cutt, then Giuffria , then ultimately with Ronnie James Dio. I was friends with Vince Cavarra and when he invited me to join the project with him and Thom I jumped at it. Thom Beebe had a handful of songs he brought with him from his previous band Child that he had co-written with Rick Reed. Once the band came together we all put our stamp on them and molded them into our sound. On other material, we would take ideas that either, Thom, Vince or myself would bring in, and shape them together and leave Pete to apply vocal parts and lyrics with occasional help from myself.
* Has there been any demos prior to the release of the "Treason" single?
VC : We actually recorded one song called “What’s That” with the above line up, except, Neil Foote played bass on it. It was entered to be chosen in a local San Diego compilation record. Got airplay, but did not make it on the record.
JO : Treason came from our first properly funded and engineered attempt, with the help from legendary San Diego Radio disc jockey Jim McGuiness and some deep pockets from friend and Padre Pitcher at the time, Eric Show, as well as some money kicked in by band friend Charlie Bryant, money I kicked in as well as Vince's father, we were able to record 10 songs and mix and master them. We only had the funds to press the single to include “Treason" and "All Your Love". We viewed those collectively as being ‘single’ material as strong songs in a short ‘Radio friendly’ format for airplay.
* The musical concept on the single has quite a diverse, almost contrasting nature; there's this all-out 80's US Metal/Speed thing on the titletrack, and some modified, conventional rooted HardRock on flipside tune "All Your Love"; gauging just these two songs, one cannot tell what the true nature of the band was; did the set go by several musical differences anyways?
VC : Both those tunes were from the collaboration of Thom and Rick Reed, the singer from Thom’s old band “Child”. Frankly, they were easy tunes, and we had played them many times by now and they sounded pretty good. So when we went into the studio (thanks to the parents’ generosity, to get us started) those were the first to get tracked. We had about 9-10 tunes to record, with about half of those being new ones that I, and the guys, had come up with. “Tower” was one of the newer ones, for example.
JO : The bands’ material ranged in sound from the people who wrote the tunes to the mood we were in when we shaped the sound of the resultant song as it ended up. Our approach to our material was more along the lines of Led Zeppelin in keeping the freedom to move around a bit with our styles and not pigeon hole the material on one set of rails and just roll with it. The songs that made up our sets we played live varied quite a bit in musical style from dark and heavy to more of a Pop Rock at times. We would even throw in a cover tune here and there sometimes for encores, for example "Rock Candy" by Montrose, and, in a medley style we would merge "Immigrant Song" in the middle of another tune during our live set.
* "All Your Love" sports a guitar lead, much in the styles of Rainbow's "Lady Starstruck"; has this been an inspirational source here? Other similarities that may come surfacing on this one are early Scorpions and Whitesnake; any match here?
VC : Thom was heavily influenced by Ritchie Blackmore, so you are right on in your comparison. Thom plays the main lead in that tune, and we both do the talkback leads through out. Thom was gracious in letting me do the lead in “Treason”. And yes, Whitesnake, Scorps’, all those bands of that era influenced me, that’s for sure.
JO : Thom not only was influenced by Ritchie Blackmore, he looked quite a bit like him. We were at the NAMM show one year and ran into Ronnie James Dio and stopped to talk with him for a bit. Very quickly a line formed of people wanting autographs, with a great many more asking for Thom's, thinking he was Ritchie Blackmore and asking if he and Ronnie were planning on reforming that great Rainbow line up. It was pretty funny. Another time we went to see Yngwie Malmsteen backstage at a club in Reseda California, up in the L.A. area and a reputable Guitar publication wrote a story claiming that Ritchie Blackmore was backstage watching his protégé Yngwie. Thom naturally loved this comparison as he was a big Blackmore fan himself.
There was a European Metal Magazine at the time that did a review of our single and made reference to it sounding quite a bit like Whitesnake; "All Your Love" was written and recorded quite a few years prior to Whitesnake coming out with their "Whitesnake 1987" record with the cut "Give Me All Your Love" on it. It is uncanny how much that song sounds like ours; I have no idea if there was any ‘inspiration’ to them from our version, but if there were it would have been a great compliment to us. We were and still are big fans of them.
* What have been the bands that inspired Assassin anyway?
VC : For me, I was influenced by the giants, like Zep, Van Halen of course, and Rush.
JO : I think you would have to add Deep Purple and Rainbow certainly from Thom's behalf as well as for me AC/DC, Black Sabbath, Jimi Hendrix, Montrose, UFO, Scorpions and just all the records a young kid listens to growing up at that time and naturally drawing from when it comes time to shape your style.
* Why did you deliver those same tracks from the single to the compilation LP's "Metal Madness" and "Best Of Californian Metal", whilst "Treason" even appeared twice, including an appearance on "No Substitute For Steel" by the T.A.S. label. Didn't you have any other recorded material available at that time, or did its initiators choose the songs?
VC : Actually, after we tracked all the songs we felt we had done well enough; we had these opportunities to submit to these compilations. We only had enough money to do a final mix on just a couple of tunes, so those were the ones. They also happened to be, we all felt, good strong songs as well.
JO : We had very good mixes of all the material we recorded but mastered for pressing only those tunes of the single we put out ourselves. These compilation companies picked those tunes based on their readiness I guess, even though I think I remember us wanting to put “Backstabber” on at least one of them. A lot of this was happening while we were out playing quite a bit doing gigs and I'd have to say in our defense that we all were partying quite a bit at the time with our fans and what not and probably had taken our eye off the ball a bit.
* Just how many originals did the Assassin set count at that stage?
VC : Like I mentioned before, we tracked 9 or 10 songs from that session, and we were constantly writing new tunes, all of us contributing at this point. It was really a creative time. We probably had 15 to 20 tunes within a very short period after the recording sessions.
JO : We were always working on new songs and keeping the set fresh with the addition of new material, all the while keeping the crowds happy with the favorites as well. We had a lot of ideas of tunes in various stages of completion at any given time as well. With songs coming in from contributions from Vince and myself as well as Thom, rehearsals would go in all different directions sometimes and some songs would be seen all the way through and some left in disarray. I would have to say we had at least 20 songs to choose from for our shows at any given time.
* Since you contributed twice to a New Renaissance records - compilation, how come you did not ink a deal with the aforementioned?
VC : I really can’t answer that, you should ask them! Don’t forget, that around that time there was a gluttony of bands, and some got signed for God knows why. Still, to this day, I feel we had a pretty good group, one that could have held its own.
JO : I think there were talks about doing that but based on the successes that were being realized by friends of ours like RATT and Rough Cutt, at the time, our hope was holding out for that great big deal with the big record company and not being serious enough to pursue the offers made to us at the time from the not so big ones. In hind sight obviously, we should have gone for it. Again, our eye wasn't on the ball as well as it should have been and we had very suspect management, and for the most part managed ourselves more than the help we actually got from them. We mostly managed to party more than we should have I think.
* How many copies of the Assassin single were pressed?
VC : If I recall, I think we pressed 500? Not sure, might have been a thousand.
JO : It was 1000 as I bankrolled a part of that and helped in the distribution, and managing the fan mail we received from them and the compilation records and T-Shirt orders. They went pretty quick and I only hung on to a few of them for keepsake.
* Assassin got fanzine feedback all the way down to Europe, how about exposure in the U.S.A., and don't you think a putting out an independently released 7-inch single in the United States and selling it, was way more difficult in the 80's then it was in Europe, the more so, as most mid 80's U.S. Metal bands released demos instead....
VC : That’s the way it has always been in this business… Europe was, and still is, much more open to new and up and coming bands. It’s very difficult to make it in the States alone, as most labels back then waited to see how you did on your own, first. Of course there have been exceptions, but that’s usually how it worked. I know we got some exposure across the pond, but it never fully materialized.
JO : We had great support form the local radio station here KGB 101.5 in San Diego with disc jockeys Jim McGuiness, Pat Martin, and John Leslie firmly in our corner helping us out. Pat Martin hosted a program called “Metal Shop” where he would play us regularly as well as have us come in and guest host it from time to time. I got mail from other radio stations around the country that received copies of our records or the compilation records and were playing it. Once again, we were mismanaged and did not do enough to chase down those avenues we needed to achieve that elusive success. The exposure we received from across the pond and in Japan came with no work from us. It sort of just took on a life of its own. Unfortunately we never were able to pursue that and go over and push it harder with live appearances.
* Did you release any official demos, or rehearsals... Assumingly, some did circulate the scene, officially or unofficially...
VC : That’s been an amazing thing to me. I’ve recently found out that some of our tunes, recorded from those early sessions and never released by us, have been circulating around the Internet. How they got out there, I’ll never know. By now though, I have compiled and re-mastered (from an early test mix cassette) the remaining songs from that session. Thank God none of our rehearsals were ever recorded!!!!!
JO : We never recorded rehearsals but did do a couple of other sessions at a studio called ‘Straight Ahead Sound’ that was attached to one of the venues we used to play at regularly. I have no idea what became of the tapes from those sessions. It would have been fun to have heard tapes from our rehearsals though. Especially at the end, they were getting pretty juicy with a lot of bickering going on.
* At some stage, there's been talk of a mini-LP, supposedly to include other cuts such as "Tower" and "Backstabber"; whatever happened, as this release somehow fell through..?
VC : There has been a couple attempts to release the remainder of the songs we did record. I, and other interested parties, have been trying to procure the actual 2-inch masters from Thom. I want and am able to remix them to our liking, but he’s been reluctant to release them for some reason. He feels they are his, incorrectly, so at this point, short of stealing them back, we’re at a dead end (in getting the 2-inch masters that is).
JO : I had half of the masters and turned them over a while back I think to Vince. I don't remember what was on them. There was a company out of Atlanta that was very interested in trying to release a CD of all that material, and I thought it would have been fun to have seen it surface after all these years. Unfortunately Thom once again let his ego get in the way and put forward all these demands and ridiculous restrictions and basically derailed the whole project. Vince and I had no unrealistic visions of grandeur from their release. We just thought it would have been fun to have finally put that material out there if only to have had a cool copy of it for ourselves and our kids to listen to. Thom was concerned with royalties and the share of which he thought he had coming to him. He remembers in his mind himself writing all the tunes back then when in actuality he was too drunk most of the time to make it through rehearsals on two feet. Bottom line is, NO CD.
* Has there been any label interest back in the days?
VC : Oh sure, we had interest. But no serious offers really ever came up. I feel we were just behind the crest of the wave, honestly. Friends of ours in Ratt, Rough Cutt, Jake Lee, those guys from San Diego, already were on their way, and we were a little behind…
JO : Our management we were unfortunate enough to have relied on, blew a lot of smoke up our asses and it was difficult, like I'm sure a lot of bands can relate to, of what was real and what was a mirage. The big bummer is we never managed to grab the real ones and only chased a bunch of mirages. Ultimately, the frustration of grabbing nothing but sand did us in I'm afraid. We had every opportunity to catch that wave, but there was a lot of partying going on and I feel we let it pass us by. At the end there, Metal sort of imploded as well with the pop ballads running their course and as it turned out driving the stake that damn near killed the beast. We finally packed it in.
* There's been misconceptions about the vinyl released under the banner of Assassin, as there's been a few bands around at that time, including one from Germany, and another US based Assassin. Has this never brought about any confusion? To clear all this, the only piece of vinyl circulated by you was the "Treason" 7-incher, right…
VC : That is correct. Yes, I’ve heard of other groups with that name. I think, although I could be wrong, we were the first. It’s just a name. Frankly, I think we were the best looking!
JO : The bands using the name Assassin as far as I new came a bit later than us. According to our management (Ha Ha) we were copy-righted and we were in possession of that name. Who knows. I only wish the best of luck to anyone else to give it a go under that name. The name is actually derived in it's origin for a band of men that would take on the task of some killing for a cause and crank themselves up on Hashish in order to get the job done. Hashish being part of the root of the word Assassin. I don't think we knew that at the time we came up with it, but in hindsight, when you look at our ultimate demise, it's sort of ironic. Treason and All your Love was the only 7 - incher as you put it, that we put out there, although Vinnie and myself were packing more than 7 inches, and certainly put them out there....
* Whatever happened to the band, as you guys sure did have competitive potential and your sound nicely blended in with the mid 80's US Metal / Speed sound, so timing was perfect aswell...
VC : It goes back to what I said earlier. I think we had a lot of potential, just behind a little in our timing, and timing is everything.
JO : We went through the frustrations of chasing that dream and never quite realizing it to it's fullest potential. I think we could have worked harder at it in some ways, and done some things differently and who knows. There were a lot of really great bands back then that were a lot better than the bands that did actually make it that for one reason or another came up short. We went through changing drummers to a guy named Dave "Bundy" Imondi, and then even changed singers at the end there to a guy named Marc Anthony who brought a bunch of songs to the band as well as a bunch more baggage. Ultimately there became some in fighting and we finally shut it down. It was a lot of fun and I look fondly back on those days and the great times we had as a band of brothers. When this life is over and we are all sitting around the locker room telling stories a great many of mine will come from those days.
* As the band folded, where did its members fly off to band / musical - wise, and are you still in touch with any of its initial members?
VC : For me, after we broke up, I joined forces with ex members John and Leroy and a new lead singer / songwriter and formed the band “Blacklist” It was a good band. We played the San Diego original scene for a few years, did the usual opening gigs with some national acts, etc. Did some recording as well… I moved to Oregon in ’93 and have been here since. Still play practically every week, am very involved in music still as I co-own a recording studio here in our area. There was talk of an Assassin reunion a year or two ago, so we all got in touch with one another somehow, which was cool, but inevitably it fell through. John and I remain in close contact. I hear Leroy is back in San Diego again, Thom now runs the same music store in San Diego, the one we both worked at back in ’83, and I think Pete is somewhere in Arizona……….
JO : Vince and I played in a band called Big Game Hunter for awhile with the original singer of Assassin, Lorah Brodie. Then Black List which was a lot of fun. In all the bands we have had opportunities to play concerts with major touring artists and rub shoulders with and meet a lot of our heroes. It's been a great experience. Vince moved to Oregon with his lovely bride and Black List continued on with a guitarist named Brett Ellis. It finally broke up. I have played in a bunch of various bands. One was a Progressive Rock band called 2211, Then a Jazz band called World Affair. Then, going back to my Chicago Blues roots in Blues projects, and some classic Rock bands. I played in a fun KGB radio station band comprised of an all star line up of musicians with the DJs from the station providing lead and background vocals led by Pat Martin. That was a pure blast. I have through the years played in bands with a brilliant guitarist with which I feel privileged to share a stage named Jeff Snider. We are constantly working on new things. He also has an incredible line of hand built amplifiers he has designed and sells that you can check out at www.snideramps.com . I also play in a Deep Purple Tribute band now called “Deeper Purple” with the second drummer from Assassin Dave Imondi. Now I'm playing in a Van Halen tribute band called “OU812” playing all the Sammy Hagar era material as well as Sammy Hagar tunes from his various bands even going as far back as Montrose. You can find out more at www.OU812band.com It's a lot of fun and we have the support of Sammy Hagar's Tequila company Cabo Wabo doing promotions at all of our shows. It's a lot of fun and I'm happy to be rocking still after all these years. Making music is supposed to be about fun and having a great time. It's hard to give up. When I'm not shaking the ground with my bass I'm doing it on my Harley riding around California blowing the days trials and tribulations right out of my head.
* Anything else you'd like to add?
VC : Thank you Paul for the interest after all these years…. Hope this gives you some insight into the “Assassin Chronicles”, J Vinnie Cavarra
JO : I too, would like to Thank You Paul for the honor of your interest in a band we poured our heart and soul into two decades ago. It's funny to imagine that a band that played that loud back then is still heard today by some people. We touched a lot of lives in those days and had many very kind fans pour their love out to us in a variety of ways. They will never be forgotten. That was what any band gets into this racket for in the first place. Fame and Fortune are wonderful and it would be killer to be rich beyond your wildest dreams from doing this, but it's the adoration from fans that come to watch you do your thing that makes the majority of people play in Rock bands. We definitely had a great following of fans to help us realize that dream, and made those days incredibly memorable. We loved them and always will. I still to this day have people show up and see me in whatever bands I happen to be playing in that have been coming to see me since those days and come up to talk with me and remind me of how much they enjoyed it. I can't describe how good that makes me feel inside and I am eternally grateful for that feeling.
Paul van der Burght
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Assassin photos above left, centre and right by Dave McCarter
DRAGONFLY
The Dragonfly E.P by this London based act is among the the top collectibles in the NWOBHM genre, and not without reason... Apart from the fact that this gem has been circulated in a very small press, it also displayed a most creative brand of NWOBHM with a staggering potential. With this, Dragonfly definitely could have gone places, but at least they now get the recognition they deserved some 35 years back! Guitarist Stephen Heath takes us back in time…
* Which bands did DRAGONFLY emerge from, or was this the first experience in full band format for its members?
Stephen : Basically, this was the first (true) full band experience for all of us, and which began in early ‘79! (and ended in ‘81!)
* It seems, the band didn't take too long to get to the vinyl stage; knowing this, the first set must have included more originals than covers or wasn't DRAGONFLY much of a live-act in its early stage?
Stephen : We have never played covers! From the word go, we knew exactly what we wanted to do! This was to eventually become serious contenders, standing alongside the bands that we grew up with and respected! (I'm talking Judas Priest - Scorpions - etc-etc here!) The idea of simply playing covers in pubs for example, never even occurred to us! We were that confident, and had that "all or nothing" attitude and vision! The vinyl stage occurred, maybe half way within three years, 1979 - 1981. Much of a live-act in our early stages? Well, yes, we were pretty busy! Actually, our very first gig was with AngelWitch at the "Ruskin Arms".
* Did you record any demos or rehearsals prior to the EP and have any promotional dubs / demos been shopped around to record labels, if so, which have been approached?
Stephen : For sure! We recorded our first demo (which included the songs "High-Talk” and "Loser") at the "Orange Recording Studio" London W1. We then recorded these other songs - (as demos) - "Mercy" - "No No No" - Reasons" - (and later on) - "Dragonfly" - (and an earlier / different version of) - "Silent Nights". As for approaching record labels, we mostly sent them to all the majors that you'd expect. We did have interest from A&M, and they wanted to know if we could also write something that could "cross-over" commercially. So, we intentionally recorded a more commercial pop/rock song called "Stop Your Fooling" (which was very "Thin Lizzy"). Very catchy, but certainly not "us" y' know...?
* Was the private-press of the EP a direct result of no labels showing any interest in the band?
Stephen : Not really, it was more a case of us not only trying to "get a foot in the door", but us trying to "get both feet in the door!" What I mean by that is, by having an EP out there, more people had the opportunity to hear us, thus creating a wider audience for us, and at the same time, the wider the audience, the greater the chances of record labels showing curiosity and interest.
* Where was the EP recorded and how many recording tracks were used?
Stephen : I don't recall the name of the studio, but it wasn't more than a few minutes walk from the "Ruskin Arms" in Manor Park E12. The studio was beneath a Pet Shop of all things! Oh dear, (I'd guess that gave the Parrots something to talk about) I mean, we were L-O-U-D...! I can't remember how many tracks were used.
* How many copies of the DRAGONFLY EP were pressed, and did they all come with the sleeve?
Stephen : Five Hundred. (I do know that a lot of them have been destroyed though!) Yes, they all came with sleeves.
* Back in the days, the East Ham location was one of the epicenters of the NWOBHM, mushrooming bands, and with a vivid live-scene which included the famous Ruskin Arms pub. How did you encounter this, and was this of any advantage to you being located there?
Stephen : Well, the very fact that the Ruskin Arms was within the "location" you've mentioned, does I guess, lend itself to the area being an "epicenter" of NWOBHM. I mean, as well as ourselves, Iron Maiden came from the area, as indeed did Phil Collen. So yes, consequently, the live scene was quite"vivid"! We encountered this, simply because we all lived locally, and were therefore able to witness (whilst it seems, being part of) the NWOBHM scene that was developing around us. And yes, it was advantageous for us, because we had a very well established NWOBHM venue, practically on our doorstep.
* Did the success of locals Iron Maiden trigger the formation of new NWOBHM bands from the area, and has their success been a blueprint for others trying to follow their footsteps in the genre?
Stephen : In a way, yes... there certainly did seem to be a lot of bands appearing around that time. What you are saying about Iron Maiden is interesting, because I think that in an almost unrealized way, a lot of bands perhaps felt that once they were playing the Ruskin Arms regularly, they were suddenly walking in the shadow of (Iron Maiden's) success, and that one thing could / would follow the other... Not so! I think that Iron Maiden's rise and success, was equally - (perhaps even more-so) - to do with their "Sound House Tapes" single being favoured and pushed by DJ Neil Kay. (Although there's absolutely no denying the Iron Maiden/Ruskin Arms, er… "legend"!). Yeah... I guess it is true to say that to an extent, there did appear to be a "blueprint for success" for other bands to (try to) follow there.
* Gauging the EP, The DRAGONFLY sound was genuine NWOBHM, but, additionally featured light blends of Doom (intro/outro of "Silent Nights", plus the one-off, slug riffed sections in both "Spacebound" and "Mercy"), as well as it incorporated Fusion-esque hooks running underneath the solo in "Spacebound"; where did these come from inspirational-wise, and/or was this purely experimental?
Stephen : To analyze it to such an extent, is (for me) difficult really. I know this is quite a basic answer, but it really was just down to the natural flow of composition and content. I honestly can't say that (in my opinion) we were in any way experimental!
* The DRAGONFLY EP holds quite a diverse palette of songs; was there any specific musical direction the band would opt for, or was the sound/repertoire simply this diverse...? besides, its songs are pretty in-depth, in comparison to the regular NWOBHM act...
Stephen : I would say that the musical direction that we were aiming for, was to be almost a "kaleidoscope" of the bands that we liked and were influenced by. Our influences at that time were very much Judas Priest, Scorpions, Van Halen. - ("Van Preistions" perhaps?) - In regards to the songs on the EP being diverse, I think this is because these influences hadn't come together, and "gelled" properly at that point... we really hadn't been together that long don't forget! Hmm... yes, I agree that the songs are in depth, compared to many of the regular NWOBHM bands.
* Although the EP is now being favoured at large by NWOBHM aficionados worldwide, it surprisingly did not do the trick recognition wise, back in the days, quite remarkable isn't it?
Stephen : A reason for it not doing the trick recognition wise? Possibly because it wasn't too long after the recording of it, that we, er... split up! Y' know It's strange, but I certainly did sense a slight "indifference" to it from people at the time of us "releasing" it. I believe that within our ranks, Dragonfly had a great song writing ability and a great potential to go further in that area... perhaps more-so than the vast majority of other NWOBHM bands. As you say, the songs were quite "in depth" for its genre, and that may be one of the reasons that it does seem to be lasting the "test of time" so to speak.
* What happened after the release of the EP; was any further material being recorded? There's talk of such material with a change onto a more common musical interpretation... Has any of this been officially released?
Stephen : Maybe about 9 months after the EP's release, we split up... so no, there was no further material recorded what-so-ever.
* What happened after the band called it quits, did any of its members further their career in related or similar bands or completely different bands?
Stephen : Myself; Okay... what happened was this. In May 81, Uli Jon Roth - (who I've known and been friends with since 1978) - asked (after Dragonfly had ended) if I'd "be interested in playing second guitar" thus augmenting, and being a part of, his (then a three piece) band "Electric Sun"! Well, to say that I was in love with Uli's playing would be, like... the understatement of forever! Needless to say, I embraced the opportunity with a passion. What followed, were many happy journeys to "Seaford" - (where Uli lived with Monika Dannemann at that time) - basically, to be taught (and to relearn my) guitar playing from scratch, and to learn the majority of Uli's/Electric Sun's/Scorpions' material. During the next couple of years, I played with Uli and Ule Ritgen - (of "Zeno" and "Fair Warning") – at many rehearsals and auditions (as Uli was looking for a new drummer!). We also traveled to, and spent time together in Germany, where we had a few rehearsals / jams with various people, and where I became friends with Uli's younger brother "Zeno" Roth. (Who is also an amazing guitar player!). This all took place between the years 1981 to 1983 (between the Electric Sun albums, "Firewind" and "Beyond The Astral Skies"). Within this period, Uli had his mind set on augmenting Electric Sun even further. Much further in fact...! When, in 1983 Uli (with new and powerful management) secured a record deal and a subsequent UK tour, Uli then had the finance and opportunity, to basically (yet again) augment the line up, with whatever he wanted. He actually went for, two keyboard players, two drummers, two female singers, and three male singers. Now this really did lead to "second guitar" becoming superfluous within this "ensemble". Consequently, it was at this point that Uli and I "working" together, came to its conclusion. There was absolutely no disappointment or problem about this... it was simply "common sense" coming into effect. (I'll also mention the fact that Uli has never since utilized or worked with any other "second guitar" player what-so ever!). We're still close, and we're still very good friends. (Oh yeah... he asked me to play an outdoor UK gig with him in 1997, but the gig was (in Uli's words) "cancelled on us"! (Never mind). Anyway, who knows what the future holds? All I'll say is, that I'm very proud to have been taught by, to have played with, and to share a great part of my life with, such an amazing guitar player, and such an amazing person! A true honour indeed. In the years that followed, I put together a "power-trio" which was very much a Jimi Hendrix/Frank Marino/Robin Trower type of band - (which let's say, has always been my true "calling") - we were called "End Tricks" (Which at one point included Nik again!). Towards the end of the 90's, Nik and I worked together yet again, alongside Mark Bloxsidge - (who was the Bass player from "Trilogy") - in a short lived band called "Sabotage". Rudi; Put together a couple of bands, such as "Sapphire" and "New Torpedoes" and went on to play with - ("Pre-Thunder") - "Terraplane" for a while. Pete; Played with Rudi in "Sapphire" for a bit, but eventually chose to opt out of playing within the world of heavy metal. (However, he does still play!). Nik; Assembled a very good Rush influenced / inspired "Prog-Rock" three piece band called "Trilogy". In the early to mid 90's, Nik also played for a while, with a guitar player called "Phil Hilbourne".
* How do you look back at the early days of DRAGONFLY and what does it do to you, that the band finally got the credit it deserved some 35 years ago, as it is now considered one of the top items in the NWOBHM genre...?
Stephen : The early days? Well, apart from the equally shared ambition and determination, what mostly springs to mind is lots and lots of fun and laughter. What does it do to me that we're now getting credit for it that we didn't 25 years ago? Hmm, let me see... okay, it makes me feel either of the following; "Better late than never!" or "About bloody time!" - (I'm only joking of course) - It's quite flattering really, but at the same time it does seem a shame. I have to say, that had we not split up, (which I take responsibility for) maybe with a little more time, people would have picked up on the EP, and then... who knows?
* Any chance of the band getting back together again?
Stephen : We all know the old adage - "never say never" - It could happen. We actually got together and played again (just for the fun of it) in November 1998 at a local rehearsal studio. We simply played a selection of Dragonfly material, and to be honest, it was pretty good. The songs came back to us in an instant. Even after the seventeen year gap.... it even "felt" right, very natural. Everything just seemed to "fall into place" so to speak.
* Anything else you'd like to add?
Stephen : It's a shame that people never got to hear the best of us. Y' know, I do feel that we did have that "something"... that intangible, special "something" that makes all the difference... and that is - (I guess) what people actually refer to as that "X-Factor". (Perhaps it is easier to be "wise after the event"!). I remember reading an early edition of the reference book "The Encyclopaedia Of Hard Rock And Heavy Metal" and it actually stated, that we were "once hailed as the great British hope"... maybe we were, but if we'd been aware that people were thinking that about us at the time of our "being"... then again, who knows? I don't know if it will be of interest to anybody, but we do have a "live video" of ourselves shot at the Ruskin Arms, and which features our complete ‘set’. The sound quality is pretty good, so you never know... we could perhaps put it out as an audio CD in the future! (Likewise, a couple of the demos!).
Okay, so... thanks Paul, and thanks everyone, for your enthusiasm regarding ourselves and the NWOBHM genre, and for "keeping the faith"...
(God bless...!).
Paul van der Burght
The Dragonfly E.P by this London based act is among the the top collectibles in the NWOBHM genre, and not without reason... Apart from the fact that this gem has been circulated in a very small press, it also displayed a most creative brand of NWOBHM with a staggering potential. With this, Dragonfly definitely could have gone places, but at least they now get the recognition they deserved some 35 years back! Guitarist Stephen Heath takes us back in time…
* Which bands did DRAGONFLY emerge from, or was this the first experience in full band format for its members?
Stephen : Basically, this was the first (true) full band experience for all of us, and which began in early ‘79! (and ended in ‘81!)
* It seems, the band didn't take too long to get to the vinyl stage; knowing this, the first set must have included more originals than covers or wasn't DRAGONFLY much of a live-act in its early stage?
Stephen : We have never played covers! From the word go, we knew exactly what we wanted to do! This was to eventually become serious contenders, standing alongside the bands that we grew up with and respected! (I'm talking Judas Priest - Scorpions - etc-etc here!) The idea of simply playing covers in pubs for example, never even occurred to us! We were that confident, and had that "all or nothing" attitude and vision! The vinyl stage occurred, maybe half way within three years, 1979 - 1981. Much of a live-act in our early stages? Well, yes, we were pretty busy! Actually, our very first gig was with AngelWitch at the "Ruskin Arms".
* Did you record any demos or rehearsals prior to the EP and have any promotional dubs / demos been shopped around to record labels, if so, which have been approached?
Stephen : For sure! We recorded our first demo (which included the songs "High-Talk” and "Loser") at the "Orange Recording Studio" London W1. We then recorded these other songs - (as demos) - "Mercy" - "No No No" - Reasons" - (and later on) - "Dragonfly" - (and an earlier / different version of) - "Silent Nights". As for approaching record labels, we mostly sent them to all the majors that you'd expect. We did have interest from A&M, and they wanted to know if we could also write something that could "cross-over" commercially. So, we intentionally recorded a more commercial pop/rock song called "Stop Your Fooling" (which was very "Thin Lizzy"). Very catchy, but certainly not "us" y' know...?
* Was the private-press of the EP a direct result of no labels showing any interest in the band?
Stephen : Not really, it was more a case of us not only trying to "get a foot in the door", but us trying to "get both feet in the door!" What I mean by that is, by having an EP out there, more people had the opportunity to hear us, thus creating a wider audience for us, and at the same time, the wider the audience, the greater the chances of record labels showing curiosity and interest.
* Where was the EP recorded and how many recording tracks were used?
Stephen : I don't recall the name of the studio, but it wasn't more than a few minutes walk from the "Ruskin Arms" in Manor Park E12. The studio was beneath a Pet Shop of all things! Oh dear, (I'd guess that gave the Parrots something to talk about) I mean, we were L-O-U-D...! I can't remember how many tracks were used.
* How many copies of the DRAGONFLY EP were pressed, and did they all come with the sleeve?
Stephen : Five Hundred. (I do know that a lot of them have been destroyed though!) Yes, they all came with sleeves.
* Back in the days, the East Ham location was one of the epicenters of the NWOBHM, mushrooming bands, and with a vivid live-scene which included the famous Ruskin Arms pub. How did you encounter this, and was this of any advantage to you being located there?
Stephen : Well, the very fact that the Ruskin Arms was within the "location" you've mentioned, does I guess, lend itself to the area being an "epicenter" of NWOBHM. I mean, as well as ourselves, Iron Maiden came from the area, as indeed did Phil Collen. So yes, consequently, the live scene was quite"vivid"! We encountered this, simply because we all lived locally, and were therefore able to witness (whilst it seems, being part of) the NWOBHM scene that was developing around us. And yes, it was advantageous for us, because we had a very well established NWOBHM venue, practically on our doorstep.
* Did the success of locals Iron Maiden trigger the formation of new NWOBHM bands from the area, and has their success been a blueprint for others trying to follow their footsteps in the genre?
Stephen : In a way, yes... there certainly did seem to be a lot of bands appearing around that time. What you are saying about Iron Maiden is interesting, because I think that in an almost unrealized way, a lot of bands perhaps felt that once they were playing the Ruskin Arms regularly, they were suddenly walking in the shadow of (Iron Maiden's) success, and that one thing could / would follow the other... Not so! I think that Iron Maiden's rise and success, was equally - (perhaps even more-so) - to do with their "Sound House Tapes" single being favoured and pushed by DJ Neil Kay. (Although there's absolutely no denying the Iron Maiden/Ruskin Arms, er… "legend"!). Yeah... I guess it is true to say that to an extent, there did appear to be a "blueprint for success" for other bands to (try to) follow there.
* Gauging the EP, The DRAGONFLY sound was genuine NWOBHM, but, additionally featured light blends of Doom (intro/outro of "Silent Nights", plus the one-off, slug riffed sections in both "Spacebound" and "Mercy"), as well as it incorporated Fusion-esque hooks running underneath the solo in "Spacebound"; where did these come from inspirational-wise, and/or was this purely experimental?
Stephen : To analyze it to such an extent, is (for me) difficult really. I know this is quite a basic answer, but it really was just down to the natural flow of composition and content. I honestly can't say that (in my opinion) we were in any way experimental!
* The DRAGONFLY EP holds quite a diverse palette of songs; was there any specific musical direction the band would opt for, or was the sound/repertoire simply this diverse...? besides, its songs are pretty in-depth, in comparison to the regular NWOBHM act...
Stephen : I would say that the musical direction that we were aiming for, was to be almost a "kaleidoscope" of the bands that we liked and were influenced by. Our influences at that time were very much Judas Priest, Scorpions, Van Halen. - ("Van Preistions" perhaps?) - In regards to the songs on the EP being diverse, I think this is because these influences hadn't come together, and "gelled" properly at that point... we really hadn't been together that long don't forget! Hmm... yes, I agree that the songs are in depth, compared to many of the regular NWOBHM bands.
* Although the EP is now being favoured at large by NWOBHM aficionados worldwide, it surprisingly did not do the trick recognition wise, back in the days, quite remarkable isn't it?
Stephen : A reason for it not doing the trick recognition wise? Possibly because it wasn't too long after the recording of it, that we, er... split up! Y' know It's strange, but I certainly did sense a slight "indifference" to it from people at the time of us "releasing" it. I believe that within our ranks, Dragonfly had a great song writing ability and a great potential to go further in that area... perhaps more-so than the vast majority of other NWOBHM bands. As you say, the songs were quite "in depth" for its genre, and that may be one of the reasons that it does seem to be lasting the "test of time" so to speak.
* What happened after the release of the EP; was any further material being recorded? There's talk of such material with a change onto a more common musical interpretation... Has any of this been officially released?
Stephen : Maybe about 9 months after the EP's release, we split up... so no, there was no further material recorded what-so-ever.
* What happened after the band called it quits, did any of its members further their career in related or similar bands or completely different bands?
Stephen : Myself; Okay... what happened was this. In May 81, Uli Jon Roth - (who I've known and been friends with since 1978) - asked (after Dragonfly had ended) if I'd "be interested in playing second guitar" thus augmenting, and being a part of, his (then a three piece) band "Electric Sun"! Well, to say that I was in love with Uli's playing would be, like... the understatement of forever! Needless to say, I embraced the opportunity with a passion. What followed, were many happy journeys to "Seaford" - (where Uli lived with Monika Dannemann at that time) - basically, to be taught (and to relearn my) guitar playing from scratch, and to learn the majority of Uli's/Electric Sun's/Scorpions' material. During the next couple of years, I played with Uli and Ule Ritgen - (of "Zeno" and "Fair Warning") – at many rehearsals and auditions (as Uli was looking for a new drummer!). We also traveled to, and spent time together in Germany, where we had a few rehearsals / jams with various people, and where I became friends with Uli's younger brother "Zeno" Roth. (Who is also an amazing guitar player!). This all took place between the years 1981 to 1983 (between the Electric Sun albums, "Firewind" and "Beyond The Astral Skies"). Within this period, Uli had his mind set on augmenting Electric Sun even further. Much further in fact...! When, in 1983 Uli (with new and powerful management) secured a record deal and a subsequent UK tour, Uli then had the finance and opportunity, to basically (yet again) augment the line up, with whatever he wanted. He actually went for, two keyboard players, two drummers, two female singers, and three male singers. Now this really did lead to "second guitar" becoming superfluous within this "ensemble". Consequently, it was at this point that Uli and I "working" together, came to its conclusion. There was absolutely no disappointment or problem about this... it was simply "common sense" coming into effect. (I'll also mention the fact that Uli has never since utilized or worked with any other "second guitar" player what-so ever!). We're still close, and we're still very good friends. (Oh yeah... he asked me to play an outdoor UK gig with him in 1997, but the gig was (in Uli's words) "cancelled on us"! (Never mind). Anyway, who knows what the future holds? All I'll say is, that I'm very proud to have been taught by, to have played with, and to share a great part of my life with, such an amazing guitar player, and such an amazing person! A true honour indeed. In the years that followed, I put together a "power-trio" which was very much a Jimi Hendrix/Frank Marino/Robin Trower type of band - (which let's say, has always been my true "calling") - we were called "End Tricks" (Which at one point included Nik again!). Towards the end of the 90's, Nik and I worked together yet again, alongside Mark Bloxsidge - (who was the Bass player from "Trilogy") - in a short lived band called "Sabotage". Rudi; Put together a couple of bands, such as "Sapphire" and "New Torpedoes" and went on to play with - ("Pre-Thunder") - "Terraplane" for a while. Pete; Played with Rudi in "Sapphire" for a bit, but eventually chose to opt out of playing within the world of heavy metal. (However, he does still play!). Nik; Assembled a very good Rush influenced / inspired "Prog-Rock" three piece band called "Trilogy". In the early to mid 90's, Nik also played for a while, with a guitar player called "Phil Hilbourne".
* How do you look back at the early days of DRAGONFLY and what does it do to you, that the band finally got the credit it deserved some 35 years ago, as it is now considered one of the top items in the NWOBHM genre...?
Stephen : The early days? Well, apart from the equally shared ambition and determination, what mostly springs to mind is lots and lots of fun and laughter. What does it do to me that we're now getting credit for it that we didn't 25 years ago? Hmm, let me see... okay, it makes me feel either of the following; "Better late than never!" or "About bloody time!" - (I'm only joking of course) - It's quite flattering really, but at the same time it does seem a shame. I have to say, that had we not split up, (which I take responsibility for) maybe with a little more time, people would have picked up on the EP, and then... who knows?
* Any chance of the band getting back together again?
Stephen : We all know the old adage - "never say never" - It could happen. We actually got together and played again (just for the fun of it) in November 1998 at a local rehearsal studio. We simply played a selection of Dragonfly material, and to be honest, it was pretty good. The songs came back to us in an instant. Even after the seventeen year gap.... it even "felt" right, very natural. Everything just seemed to "fall into place" so to speak.
* Anything else you'd like to add?
Stephen : It's a shame that people never got to hear the best of us. Y' know, I do feel that we did have that "something"... that intangible, special "something" that makes all the difference... and that is - (I guess) what people actually refer to as that "X-Factor". (Perhaps it is easier to be "wise after the event"!). I remember reading an early edition of the reference book "The Encyclopaedia Of Hard Rock And Heavy Metal" and it actually stated, that we were "once hailed as the great British hope"... maybe we were, but if we'd been aware that people were thinking that about us at the time of our "being"... then again, who knows? I don't know if it will be of interest to anybody, but we do have a "live video" of ourselves shot at the Ruskin Arms, and which features our complete ‘set’. The sound quality is pretty good, so you never know... we could perhaps put it out as an audio CD in the future! (Likewise, a couple of the demos!).
Okay, so... thanks Paul, and thanks everyone, for your enthusiasm regarding ourselves and the NWOBHM genre, and for "keeping the faith"...
(God bless...!).
Paul van der Burght
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RISE & BURN |
Above: Hugo Koch with fellow Metalheads back in the 80's
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In the early – mid 80’s, HOLLAND, as small as it is, was densely populated with Metal bands, a great number of which – and unlike most other European countries – never made it onto vinyl, and in the occasion that they did, faded into obscurity….. A band that fits into this category were the remotely located RISE & BURN; a band that did a considerable amount of live-performances but never officially documented anything on tape or vinyl…. They did however live the ‘HardRock way of life’ with a series of memorable and amusing moments, both as a band and with this bond of Metalheads, both of which featured singer & Headbanger ‘pur sang’ Hugo Koch…Time to let Hugo do the talking…
* As there is no officially documented material of RISE & BURN, it must have been a selected few that were familiar with the band back in the days, outside the local territories… Exposing the band here and now, let’s start with were it all began, how, when and with whom…
Hugo: That must have been ’85 with myself on vocals, Hendrik Jan Vermeulen on guitar, Floris Vermeulen on bass and Etienne van Leeuwen on drums.
* Referring to the moniker, there’s not much guessing about the band’s prime sources… most likely RAINBOW (Rise) and DEEP PURPLE (Burn)….
Hugo: Spot on! Our guitarist was all Blackmore, but YNGWIE and ULI ROTH were among his faves. In this regard, we played loads of cover songs from DEEP PURPLE, early SCORPIONS and IMI HENDRIX. Funny thing is that I insisted on having a few covers of my liking in the repertoire and believe it or not but we also played 2 covers of VENOM!!
* As you already indicated, your personality and musical likings were quite different / contrasting with the other band members; obviously, you were more of a ‘Metalhead’, measured to the – preferably – 70’s rooted HardRock root of the band as a whole…. So, how did this blend together, en how was the first acquaintance as a singer with the band?
Hugo: That was quite an odd experience…. We all came from Stadskanaal (Groningen area)… Thing is, down there at the time, ther was only but a handful of musicians, and I knew the Vermeulen brothers from school. I was in a band called OCTACON. Poor musicianship but we ‘had’ what the Vermeulen brothers were after… a REHEARSAL ROOM!! First to enter the band was Hendrik Jan, but after some 2 rehearsals, the whole team that was OCTACON called it a day… Hendrik Jan brought in his musicians, and I just rolled along… Meaning that, alongside their ‘own’ musical styles and preferences they also had to play HEAVY METAL was not a problem to them… At that stage, the Vermeulen brothers were already high up in all round musicianship. I remember clearly that I suggested doing “Killers” from IRON MAIDEN, and passed on a tape to Floris, saying… “Here, have a listen at this… now that is what I call a great bass-player”… The week after he played STEVE HARRIS in perfection!
* Had you been in any other bands before OCTACON and RISE & BURN, or was RISE & BURN your ‘true’ premier performance as a practising musician?
Hugo: I did my first ever live appearance as a singer with RISE & BURN, and my last performance with the band was in ’89. That day I was replaced by Rene Muthert.. I sure went through some hairy and hilarious situations with that bond of Metalheads and of course RISE & BURN… One that springs to mind is this gig at a place called “Hof Van Eelde”; 600 visitors, playing a a support act to ASGARD. Hendrik Jan, our guitarist, was out of sight, and nowhere near when we had to play… turned out he was enjoying himself in a bar… playing pool and all… When we urged him to break it off because we had a gig to do, and that was ‘NOW’!! he said something like… “They do wait for Ritchie Blackmore”, so why can’t they just wait for me!”
* Tapping in on that bond of Metalheads, that was a gathering of Headbangers as I understand, and not something connected to RISE & BURN other than you being pat of both… From what you’ve told, you guys surely lived the Metal dream, and to me sounds something like a SPINAL TAP story-line at a Dutch level, ‘shopping’ beer with METALLICA, and drinking sessions with greats such as SLAYER and TWISTED SISTER… Please do fill in on all that!
Hugo:The first ‘gig’ I attended was VAULT in 1982. Later that year I saw MICHAEL SCHENKER in Groningen and from that day I tried hard to make this a weekly routine… METALLICA had just played the AARDSCHOKDAG festival in ’85 when they were about to play in a small scale local village called ZWAAGWESTEINDE. With our ‘Metalheads club’ hit ZWAAGWESTEINDE late in the afternoon; upon arrival, there was this old VW van driving towards us… As it stopped we gazed inside and who were in it..? METALLICA !!! CLIFF BURTON (R.I.P.) planted himself on the sidewalk next to me and almost instantly asked me where to buy HEINEKEN…. With Cliff and Lars Ulrich straight to the supermarket… shopping beer and crisps! They had to split shortly after for the soundcheck… 500 visitors, that was all who saw METALLICA play that night with TWISTED SISTER as the support act. After the gig waited for DEE SNIDER, popped him the legendary oddball question; “Do You Like Holland”; ANSWER; “Uh, yes, but there are not many mountains here”. Autographed my jeans (washed out the very next day by mums!), and had a little chat in the touring car… We saw SLAYER in “Vera” (Froningen), “Hell Awaits” Tour.. after the show with the entire band at the bar… Similar happenings with D.R.I., SUICIDAL TENDENCIES…. Back then it was still an a open, friendly atmosphere; the artists themselves often went to mingle with the crowd after the show… O, and with ANTHRAX we did the same ‘shopping’ routine (BEER, BEER, BEER!!). Less renowned acts such as H-BOMB, GRAVEDIGGER, ACID, SAVAGE GRACE, BLIND FURY etc… you just hooked up with them after the show, and they were just really cool guys, as happy as can be to have a shot to play over in Holland which was a true ‘Metal Metropole’ at that time…!
* So, how were the RISE & BURN shows on average, concentrating on the smaller vanues and Metal-clubs alike…
Hugo: Cool! Great times… Particularly the smaller type festivals is where one shared the stage with some really good bands. Not only Metal, we also played with Rock, Punk and New Wave bands. When we played with Metal bands we often got to hear something like; “That singer is allright, but those peculiar Hippies around him…” Whenever we played with Blues or Pop bands it worked the other way around, saying something like “What the heck are them deserving musicians doing with such a ‘loudmouth’ on vocals”…
* Did you also do the more commonly known clubs / Metal bars such as the ‘DYNAMO’ in Eindhoven or the ‘AMERICAN BAR’ in Middelburg?
Hugo: No… plenty of bars though, and youth centres; almost all of them down within the regions of Groningen and Drenthe
* You also played with a string of Dutch HardRock / Metal bands…. There also was – or at least from your side – inter action with a number of domestic acts such as VAULT and ANGELDUST… Altoghether a considerable source of connections band-wise…
Hugo: We played with ANGELDUST, ASGARD, VULTURE, JEWEL, MYSTO DYSTO etc… VAULT was a little earlier (’82 / ’83). As for MYSTO DYSTO, believe it or not, but back then, they were not much of being appreciated by other bands… Most did dig their LP, but they surely did not look like the real deal in their lift-off stages; too overdressed with blouses that were just too neat, combined with way too tight, red! coloured leather pants! Their image improved at the MANDATOR times… I still am in touch with Marcel Verdurmen; we train at the same gym here in Stadskanaal…
* There is some RISE & BURN originals though, but it seemed the accent was on covers and the live-thing instead… Has there ever been plans to bend this towards recording a thing or two either tape or vinyl?
Hugo: If it was for me, we surely would have…. However, when things really got going with the band, I was being replaced, ha ha… Rene Muthert was my successor… Rene has not been with the band for too long though… He went over to join LIGHTNING which fell apart shortly after… Years on Rene married celebrity in the making Patty Brard…
* When we are talking originals, could you name a few…
Hugo: There was a whole batch, composed by Hendrik Jan; I can’t recall any of them titles though…
* Then again, it is quite remarkable to find a band without any proper promotional devices such as a demo, gigging at a large scale… How did you guys pull this off? Connections or a mighty good manager?
Hugo: Down here in Groningen and Drenthe everyone knew everyone in the music scene. Me, myself, I had a little stint in the selection and programming of small-scale acts down the local youth-centre ‘De Kwinne’ in Stadskanaal. I programmed my own band ha ha.. By the way, in those days I nearly managed to get HELLOWEEN over to Holland for the very first time… Their MLP was just being released and we were looking for a band for this Metal festival. I must have that letter of Kai Hansen somewhere, him being guitarist and manager at the same time… Anyways, it did not work out as they were asking 1500 guilders! And we had a budged limited to a 1000 guilders… 1500 guilders including P.A., lighting and they also did their own share of promotion for that sum!!
* Eventually, the members that were RISE & BURN parted ways, and, as you mentioned earlier, you were being replaced by Rene Muthert…. Has there been any other line-up changes other than Rene handling the vocals, and did the switch-over in the vocal department also bring a new, musical direction?
Hugo: Well, as mentioned earlier, Muthert left shortly afterwards and the Vermeulen brothers went over to the ‘Conservatorium’ (instructional school – musical department) in Groningen. Muthert went on to play with Peter Bootsman (NEW ADVENTURES), Carl Carlton (now with Peter Maffay) and VITESSE, LONG TALL ERNIE & THE SHAKERS etc…
* Did this mark the end of your career as a singer, or have you been involved with any other act after the RISE & BURN days…?
Hugo: I never played with any other band afterwards… I have been manager to RASKAL RUDY (’89 – ’93); top-notch act in the likes of BLACK CROWES, GUNS & ROSES etc… Very successful in local territories… They played with the upper regions of Dutch Rock such as HERMAN BROOD, NORMAAL, DE DIJK etc… I do have good recordings of that band; demos and CD but ahm… it ain’t METAL!
* Altogether special times, but also the right time for that sort of music, back then in full swing with all its clichés, such as the studded wrist-bands, tiger-print pants and the ‘real’ Metalhead image… Must be weird to find this whole thing getting back to life again at present….
Hugo: Man, time of my life! I now have 3 kids and ‘try’ to act ‘wise’ although I think back at those days quite regularly… There is some good music being produced at present though… I do listen to early 80’s Metal every now and then, but also lend my ears to KAISERCHIEFS, WOLFMOTHER and similar styled bands… I am still in the music-bizz though… From ’99 I am selling singles and LP’s on a full-time basis through eBay… Yes, I am also selling the expensive stuff such as SATAN 7”, BLITZKRIEG, VAULT, MYSTO DYSTO (of course) etc…
* Did it ever cross your mind to resurrect RISE & BURN for just one occasion?
Hugo: Oh no! The Vermeulen brothers surely won’t be up for that!
In more recent times, Hugo has picked up the vocal duties again with his NWOBHM styled band BURNING, hitting the stage again old-school Metal style. In 2014 The band materialized their first set of songs in the shape of a 7” single, and now have a full-length album, “Nightmares” out. More info here: https://www.facebook.com/burningmetalband/?fref=tshttps://www.facebook.com/burningmetalband/?fref=ts